The ninth edition of One Take Film Festival was officially closed by awarding the Grand Prix to the film “The Invisible Hand of Adam Smith” by Slobodan Maksimović.

One Take Film Festival´s Grand Prix goes to the film "The Invisible Han of Adam Smith"

The ninth edition of One Take Film Festival was officially closed by awarding the Grand Prix to the film “The Invisible Hand of Adam Smith” by Slobodan Maksimović.
During the three festival days, 32 films from 21 world countries were screened in the main competition. Twenty-eight short films and four feature films competed in the spirit of the festival form for the festival prize, and the three-member jury consisting of Peter Blackburn, Australian director and winner of the eighth One Take Film Festival, Sara Hribar, award-winning Croatian film director and screenwriter, and Martin Jehle, director and collaborator at the University of Hildesheim in Germany, unanimously awarded the One Take Film Festival Grand Prix to “The Invisible Hand of Adam Smith” by Slobodan Maksimović from Slovenia.

“The film is a fine example of one-take filmmaking with vibrant mise-en-scene and choreography of movement. This politically driven piece was able to provide a light-hearted look at a very serious state of the European economy. The film incorporated the languages of many different nationalities, which is a massive directorial task in itself. Congratulations to the director and the whole international crew behind the film that put a massive amount of work into this spectacular and technically superb one take.” – explanation of the jury.

“Thank you. I am suprised and happy, it was moving to listen the explanation of the jury. Thanks to everyone from my team and thanks to the jury.” – said Slobodan Maksimović while reciving the award.

This year’s edition of the festival, apart from the competition, featured a rich accompanying cinematic and exhibition program, so the audience also had a chance to see the film “Utøya: July 22” by Norwegian director Erik Poppe after the award ceremony.

Festival director Sanja Šamanović closed the ninth edition of the festival and invited authors and the audience to a new cinematic single-take experience in 2020.


Every other year, the University of Hildesheim in Germany holds a special program for its students.

Presenting... University of Hildesheim

Every other year, the University of Hildesheim in Germany holds a special program for its students. Those pursuing cultural studies have a chance to take part in lectures and workshops held over the course of three weeks and pertaining to different art forms and fields; from working on theater plays, painting and photography, organizing and holding concerts, going through theoretical and practical specializations in numerous areas to preparing and realizing film projects. The focus of cultural studies at the University of Hildesheim is precisely to achieve the best possible version of interconnectedness and interaction between theory and practice in all segments. This year, in place of a professor who retired in the meantime, the role of the organizer of the summer program’s film segment for the first time went to Professor Martin Jehle, a former student and a doctoral candidate at Hildesheim, as well as a film author whose works have been screened at former editions of One Take Film Festival.

On Saturday, October 20, films by the students from the University of Hildesheim were presented as part of the accompanying One Take Film Festival program. Four films were screened: “Odyssey” by Leonidas Kosmidis, “All That You’ve Seen…” by Samuel Bereuther, “Homing Pigeon” by Leonie Lorene Wyss and “The Breaking of Waves” by Wiebke Balg. A Q&A hosted by film production student Tajana Bakota was held after the screenings, during which authors of the films let the audience in on how the ideas for their films were conceived, their perceptions of the advantages and limitations of shooting a one-take film, and how their university studies are organized. The students continued to casually socialize with students from Zagreb’s Academy of Fine Arts as well, exchanging their filmmaking experiences and interests.


More films, less shots than ever

9th One Take Film Festival officially opened

More films, less shots than ever

The ninth edition of One Take Film Festival, an international festival of films shot in one take, opened its doors to a large audience at Cinema Europa on Friday. The festival was initiated in 2003 by director and cinematographer Vedran Šamanović.

In the role of the presenter, actress Ana Vilenica greeted the visitors, among them the authors of films on the program of this year’s festival weekend, as well as representatives of the Croatian Audiovisual Centre, City of Zagreb, City Office for Education, Culture and Sport, Zagreb Photo Cinema Alliance (ZFKS) and Zagreb Association of Technical Culture.

The competition includes 32 shots from 21 countries, and one Croatian film as well: Date Night by Neven Dužanec. The winning film will be decided on by a three-member jury consisting of Peter Blackburn, Australian director and winner of the Grand Prix at the 8th One Take Film Festival, Sara Hribar, award-winning Croatian film director and screenwriter, and Martin Jehle, director and collaborator at the University of Hildesheim in Germany.

Director of One Take Film Festival Sanja Šamanović spoke to the audience, emphasizing that this year’s edition of One Take Film Festival brings more films than ever before, a large number of already familiar festival programs, new cinematic and gallery concepts, presentations of film schools and festivals, and that—for the first time—each and every program is marked by the one-take concept.

Sanja Šamanović ceremoniously opened the ninth edition of the festival by pointing out that “the program includes one-take veterans and those who are here for the first time, films that have been screened at the world’s most prestigious festivals and those premiering here. Two-hour and two-minute takes. Thrillers and dramas. Weddings, break-ups, instances of love, hate, disappointment, forgiveness… various utilizations of one shot under a common denominator of emotions and relationships.”

The festival was opened with five short films from the official competition: Technical Break, Date Night, Rise, Quidnunc and The Robbery. The audience heard from Nina Tararuieva, actress from the film Technical Break, and Neven Dužanec, director of the film Date Night.

Nina Tararuieva expressed her gratitude at the welcome received at the festival and stressed that the film was difficult to make, as one-take films as a rule are, while Neven Dužanec thanked his film crew and remarked that the film was made literally out of love towards the art of cinema, i.e. without a budget.

After the official opening, the audience saw the film Hawaii, Oslo by the Norwegian director Erik Poppe, to whom this year’s Loading… program is dedicated.


On Monday, October 15, the exhibition Veiling by the director, scriptwriter and film editor Damir Čučić was opened at the Greta Gallery.

Opening of the Exhibition Veiling

On Monday, October 15, the exhibition Veiling by the director, scriptwriter and film editor Damir Čučić was opened at the Greta Gallery.
The director of One Take Film Festival Sanja Šamanović pointed out that the collaboration with Greta Gallery and Interface Festival was continuing through one of the pre-festival programs this year as well, and invited all visitors to enjoy the festival and one-shot films in the following days.

As Tanja Dabo pointed out during the opening, Veiling was initially supposed to be a documentary in which the author films his friend’s confession surrounding an accident in the workplace that changed his life. She emphasized the disturbing nature of the exhibited work and asked visitors to read the text that she wrote about it.

In his emotional speech, the director Damir Čučić shared his motivation with the audience and described his process of working on the film, which represents one of his unfinished works. The project he worked on with his recently deceased high school friend was supposed to be a story of covering up an accident in the workplace. Ten years later, he presents the audience with Veiling, dedicated to Domagoj Prudeus.

The exhibition will be open until October 21, 2018.


On Saturday, October 13, the exhibition The Time of Space curated by
Davorka Perić was ceremoniously opened at the Vladimir Bužančić Gallery.

Opening of the Exhibition The Time of Space

On Saturday, October 13, the exhibition The Time of Space curated by Davorka Perić was ceremoniously opened at the Vladimir Bužančić Gallery.

The exhibited works included:

Vlasta Žanić: In the Garden, video, 4’ 40’’, color, sound, camera by Jasenko Rasol, Vizura Aperta Festival – Free time and leisure, Momjan, 2014
Antun Maračić: Novska – Banova Jaruga; Through the four seasons by train, 1977.-1979., 8mm film (digitized 8mm film) 12’ 34’’
Author team Sandro Đukić – Marko Marković – Branko Cerovac: Goli Otok Syndrome, video, photographs (2003), objects, video documented performance, 2016

Visitors were greeted by Anita Zlomislić, gallery director, Davorka Perić, exhibition curator and Sanja Šamanović, director of One Take Film Festival.

While Anita Zlomislić emphasized her hopes of this year’s collaboration with the festival continuing in the future, and Sanja Šamanović invited the visitors to come see the rest of the festival’s program in the upcoming ten days, curator Davorka Perić provided more insight on the exhibits: “The exhibition was inspired by Vlasta Žanić’s project which serves as a visual interpretation of Michael Foucault’s Of Other Spaces. Consequently, the exhibition builds a network of relations by means of works exhibited and contrasted in space.”

Author Branko Cerovac followed with a couple of words about the work Goli Otok Syndrome: “The exhibit comprises juxtaposed photographs, video clips, documented journeys and spaces, traces of earlier works and notes, graffiti, a few performances delivered on Goli Otok, and also contains works with artifacts and materials found in situ… ”

The exhibition will be opened until October 21, 2018.


A big roundtable was held at Cinema Europa today on the networking of small film festivals entitled “When Little Festivals Join Together.

Small Croatian Film Festivals Begin Networking

A big roundtable was held at Cinema Europa today on the networking of small film festivals entitled “When Little Festivals Join Together. At the initiative of Sanja Šamanović, the director of One Take Film Festival, representatives of Croatia’s most significant small film festivals gathered to detect the main issues and obstacles that organizers face in the process of preparation and realization of their festivals.
At the same time, the discussion served as an incentive for possible collaborative networking. Along with Sanja Šamanović from One Take Film Festival, moderator Dunja Bovan presented the other interesting participants: Jelena Androić from Liburnia Film Festival, Nenad Borovčak from Tabor Film Festival, Andrea Jakovac, representative of the independent cinemas network, Tanja Vrvilo from Film Mutations, Natalija Stefanović from STIFF Rijeka and Toma Zidić from Diversions International Short Film Festival.
The roundtable uncovered common themes and problems that small festivals encounter in organizing and realizing their type of project, which mainly concerned spatial, human and financial resources. It was decided that they would continue to meet in the upcoming months, as well as form a formal body comprised of representatives of film festivals who would act together, with specific goals and suggestions, not only towards the Croatian Audiovisual Centre as the umbrella institution, but towards the local communities as well.
Networking would improve the status of festivals on the national and local levels both. It was clearly established that all festivals can help one another by sharing information, resources and support.
Whether it is networking in the form of a platform, initiative or legal person, the common goal of this interesting discussion has always been reaching out to our peers and the conclusion is that working together can undoubtedly elevate the status of small festivals.




Angels / Angels

fiction, Canada, 2018.
color, 10 min

director / Taylor Olson
screenwriter / Taylor Olson
cinematographer / Tim Mombourquette
actors / Taylor Olson, Koumbie
producers / Taylor Olson, Tim Mombourquette

Young father, played by the screenwriter and director himself, tries to reconcile with his estranged daughter, talking to her on the bed in her room. Trying to direct her on the right path and prepare for life ahead of her, the father is certain that her future life circumstances will not offer anything good and that life will try to take everything away from her.

Taylor Olson is an actor, screenwriter, producer and director, and so far a one-time cinematographer, living and working in Halifax, Nova Scotia, Canada. After graduating from Dalhousie Acting Program in 2014, Taylor is equally active in film, television and theatre. A multiple nominee for ACTRA Maritime and Screen NS awards, he worked on numerous feature films (Ariyah & Tristan’s Inevitable Break Up, Noon Gun, Afraid to Speak, Your Money or Your Wife, You Ruined Our Life, Black Cop and Halloween Party). As an actor, he performed in TV series Sex & Violence and Pure, and in various short films. Although he considers film and television acting to be his greatest passion, he stretched his engagement to writing scripts, directing and production, within his production company Afro Viking Pictures.

Aurora / Aurora

fiction, Spain – Czech Republic, 2017.
color, 11 min

director / Diego Fandos
screenwriter / Diego Fandos
cinematographer / Diego Fandos
actors / Beatriz Abrisqueta, Dahlia Ayoub, Indiana Caudillo, Marc Dexter Cram, Maelika Hani Eberhard, Sara Liern, John Malafronte, Antoine Sottiaux
producer / Diego Fandos

Drama completely authored by screenwriter and director Diego Fandos visually displays a seemingly ordinary early morning by the sea, while the sun rises and the boat in small harbour swings on waves. But for the tourists in the bus stopping at the resting place, this is not an ordinary morning. Among the passengers’ voices are two Americans talking about girls and sex, a young French couple heading for a big change in their relationship, possibly influenced by an unknown man’s text messages to the girl, and two Spanish women talking about friendship and mutual help in need.

Diego Fandos was born in Navarra, in the Spanish province of Pamplona, in 1971. A journalist by education at the Universidad de Navarra, he engages in film, predominantly in screenwriting and directing, but also as a complete author. He is also a writer of short stories whose first collection El libro de los amores limón was published in 2015, receiving numerous literary awards. After short films Ajoi (1999), Hospital Krev (2000), La Estrella (2002), and documentaries Dos tonalidades diferentes de rojo (2002) and En casa de los Jesuitas (2006), in 2007 he made his feature-length debut, a drama Cosmos, screened at San Sebastian International Film Festival. Currently he lectures in screenwriting at Prague Film School.

No Exit / No Exit

experimental, Turkey, 2017.
color, 3 min 30 sec

director / Evrim Özsoy
screenwriter / Evrim Özsoy
cinematographer / Serkan Tanis
dancer / Evrim Özsoy
producer / Evrim Özsoy

Experimental film, described by the author, Evrim Özsoy, as experimental dance work, depicts the author who – by jumping and dancing – tries to find the exit, but despite her effort and attempts realizes that it doesn’t exist. However, the author claims that she will keep on trying.

Evrim Özsoy was born in 1981 in the Turkish town of Aydin. At Università degli studi di Verona, during 2008 and 2009, she studied at the Faculty of Communication Sciences and Fine Arts. From 2004 to 2009, she studied communications at Marmara Üniversitesi in Cağoloğlu, Turkey. She attended numerous theatre, dance and performance workshops, for example theatre workshop at Kadıköy Public Education Center in 2003, dance workshops at Marmara University Dance Theater from 2003 to 2005, Use of the Body in the Ancient Theater workshop by Teodoros Terzopoulos, Meyerhold Biomechanics workshop by Aleksei Levinski, Shakeaspeare Studies workshop by Bruce Myers and Commedia Dell’arte workshop by Ferrucci Soleri. No Exit is her ninth film in the last 12 years. She also directed short features (Healing Caller Allianoi, Sumer Inspector Muazzez Ilmiye Çığ, Dear Friend Bahadır, Job Interview), experimental (Sleepless Feet, Adam) and documentary films (Children of Sulukule).

Without morning / Shabi ke Sobh nashod

fiction, Iran, 2016.
color, 12 min

director / Mohammad Baghi
screenwriter / Mohammad Baghi
cinematographer / Milad Partovi
actors / Sara Abedi, Ahmad Monajemi, Mehri Alagha, Maryam Elhamian, Ali Oliai Nejad, Kianushi Javad Eslami, Said Haerian
producer / Mohammad Baghi

One early morning, before dawn, an Iranian soldier and prison guard Efran awaits a very unpleasant duty of removing the chair under the man sentenced to hanging. The execution will be held in the prison’s yard, and while Efran nervously smokes, the mother of the victim, for whose death the convict is responsible, tries to find the reason for forgiving the crime in Koran. Simultaneously, the convict’s mother and another woman plead with the prison director to spare the convict’s life.

Iranian producer, screenwriter and director Mohammad Baghi was born in 1987, in Tehran. Acquiring the Italian LazioDisu scholarship in 2011 enabled him a five-year stay at the Apennine Peninsula, during which he studied the Arts and sciences of the show at the famous Roman La Sapienza University, and then the three-year study of Art and sciences of entertainment at the same university. From 2003 until today, he directed ten films – short features (Who is the thief?, Moustache), documentaries (And the cinema), and most of all video art projects (Freedom of Fear, Experimental research, Do you want to eat something?).

Chocolate wind / Shokoladny veter

fiction, Russia, 2016.
color, 24 min

director / Ilia Antonenko
screenwriter / Ilia Antonenko
cinematographers / Aleksandra Spirina, Igor Gladkov, Andrey Begunov
actors / Anna Draznina, Angelina Zakeryaeva, Kirill Antonenko
producers / Ekaterina Antonenko, Ilia Antonenko

Alla is a lonely and hesitant 18-year old girl who, like Cinderella, often fantasizes about escape from uneventful and boring everyday life that surrounds her. When an old girlfriend Masha, a somewhat frivolous and irresponsible girl she intensely communicates to on Skype, suggests an unusual proposal, Alla will accordingly think that the opportunity to realise her dreams is presenting itself… A film based on true events about two girls who decide to be happy no matter what.

Co-producer, screenwriter and director Ilia Antonenko was born in 1978, in Sankt-Petersburg. In 2015 he graduated from St. Petersburg State University of Film and Television, in feature and television film, in the class of Professor Sergei Ovcharov. His debut as a film author was a short film Just Words, in 2015, screened and awarded at numerous festivals in Russia and worldwide, among others at 11th Jahorina Film Festival in Bosnia and Herzegovina, and at several festivals in the US and Great Britain. Chocolate Wind is his second short feature film, previously screened and awarded at festivals worldwide.

The Arrival / The Arrival

fiction, United Kingdom, 2016.
color, 5 min

director / Daniel Montanarini
screenwriter / Daniel Montanarini
cinematographer / Alistair Little
actors / Emily Barber, Ciaran Kellgren, Sehee Chun, Rachel Ryba, Olivia Head, Oliver Rawlins, Emma Osei-Lah, Alison Williams, Trevor Williams
producer / Jacob Thomas

Feature film written and directed by Daniel Montanarini shows young Anna, a pregnant girl, worried in a coffee shop. While waiting for her partner and father of possible future child, Anna is thinking not only about whether she should order regular or caffeine-free coffee, or perhaps tea, but also about the colour of her boyfriend’s eyes, how to tell him she intends to abort and if she will carry out the abortion at all, or keep the child with the man for whom she is unsure of her feelings.

Screenwriter and director Daniel Montanarini is a freelancer from southeast London. Watching Martin Scorsese once, talking passionately about his masterpiece, Taxi Driver, Daniel firmly decided he wants to be a director. In 2015, he graduated in directing from The National Film and Television School. He studied film and literature at The University of Warwick. He worked for production companies Pretzel Films and Zen Design Studios, developing feature projects. Before The Arrival, he made three short feature films (The Guest, On the Edge of Town, Seahorse), and a short documentary All About Mothers.

Greek Tragedy / Tragedia Griega

fiction, Spain, 2018.
color, 4 min 23 sec

director / Norberto Trujillo Bolaños
screenwriter / Norberto Trujillo Bolaños
cinematographer / Fernando Arriaga Hardisson
actors / Norberto Trujillo Bolaños, Jonay Alemán
producer / Norberto Trujillo Bolaños

Thriller drama written, directed, co-produced by Norberto Trujillo Bolaños, who also plays in the film, follows two men walking on a sandy beach, one behind the other. The front one has bruised face and the one behind holds the gun in his hand. After the first man starts to plead for mercy, the other, threatening him with the gun, starts to tell the story of Peter and the wolf, forcing him to comprehend the moral of the story. However, the events could turn in unexpected ways.

Producer, screenwriter, director and actor Norberto Trujillo Bolaños was born in 1989. Since 2011 he is mostly engaged as an actor in a series of short films (Cambio, Piemanojo, Números Rojos, Historia de un recreo, The Question, Ilusiones, Relato de un viaje, Patibulo, Una calada…), in an acclaimed thriller drama El clan, directed by Jaime Falero, in a comedy series Videocreaciones Express, and in TV-series Montevideo, Bog te video! by Dragan Bjelogrlić, as well as in his film Montevideo, vidimo se!. During the last seven years, he directed 11 short feature films, ten of which were (co)written by him, he produced those films and engaged as a cinematographer in four of them. His most known films are debut Cambio (2011), action film Hoy, Asesino (2013) and drama Tarde de Julio (2014).

Harmony / Harmony

fiction, Iran, 2017.
color, 29 min

director / Mohammad Hormozi
screenwriter / Mohammad Hormozi
cinematographer / Hosein Fatemian
actors / Abdoreza Parsa, Mehrbanoo Batebi
producer / Mohammad Hormozi

After entering the car with the intent to do her usual work, an attractive young prostitute tells the middle-aged driver that her minimal price is 100 toman. Soon, he gives her the required money, while during the drive, an unusual conversation begins. She is a direct and cynical woman, aware of the weight of her existence and her profession, and he is a quiet and timid guy, who suggests she should find a better and more dignified job. When she tells him that she also takes care of elderly men whose relatives often ask awkward questions, he suggests they visit his friend, a small business owner, who could employ her as a secretary. But, she may not be completely sincere, and his intentions aren’t quite clear…

Mohammad Hormozi was born in Tehran in January of 1983. He is engaged in the seventh art since 2009, participating in the work of several film schools and making five short films. As well as acquiring education at film studies in Iran, Hormozi took part in the work of several workshops of famous Iranian filmmaker Abbas Kiarostami. His films were screened at festivals in Iran and worldwide, receiving several national and international film awards. His debut as a film author was in 2011 with short film Wings of desire, followed by short films Father and son (2013), The Exhale (2015) and the latest, Pine (2018), all focused on family relations and intimate interpersonal stories.

Fourplay / Fourplay

fiction, USA, 2016.
black-white, 76 min

director / Dean Matthew Ronalds
screenwriters / Emanuela Galliussi, Dean Matthew Ronalds, Francesco Plazza
cinematographer / Adam D. Ouelette
actors / Tammy Blanchard, Dominic Fumusa, Emanuela Galliussi, Bryan Greenberg
producers / Emanuela Galliussi, Dean Matthew Ronalds, Francesco Plazza

Humorous drama co-produced and directed by Dean Matthew Ronalds is a story of Tom and his wife Anna, welcoming their old friends Joe and Susan at their apartment to celebrate Tom’s new employment. After Anna finds out that, after years of futile attempts, she is pregnant, her relation towards Tom unexpectedly becomes arrogant and offensive. When Joe and Susan arrive, over drinks they all engage in small talk about life, memories, fears and dreams. And when they all drink a bit too much, inhibitions and self-control start to disappear, conversation becomes more open, tougher and more cynical, revealing secrets and lies that could change the life of all four of them.

Producer, actor, director, editor and screenwriter Dean Matthew Ronalds was born in 1976 in Glendale, California. After working on a series of short films as a complete author (Bounty, A.W.O.L., Split, Portrait, The Netherbeast of Berm-Tech Industries, Inc., Little Victim), and full author engagement in drama series Screen Wars, he wrote the script for an episode of Tyler Perry’s popular sitcom Meet the Browns. In 2010 he produced the comedy Here & Now with Judd Nelson and Traci Lords, and during the last couple of years also directed drama Ashley, humorous drama Going Bongo and horror-thriller #Screamers. As an actor he played in numerous short films, and in drama Love and Honor by Dwight Brooks, a comedy Star Power by Brenton Covington, horror-thriller The Graves by Brian Pulid, thriller Dirty Little Trick by Brian Skib, co-starred by Dean Cain and Michael Madsen, and in drama Goodbye Promise by David Branin. His film #Screamers was screened at the 34th Torino Film Festival, Telluride Horror Show Film Festival, Hollywood RIP Film Festival and at Studio City Film Festival, where he received the best film award.

Invasion / Hojoom

fiction, Iran, 2017.
color, 102 min

director / Shahram Mokri
screenwriters / Shahram Mokri, Nasim Ahmadpour
cinematographer / Alireza Barazandeh
actors / Abed Abest, Babak Karimi, Elaheh Bakhshi, Behzad Dorani, Mohammad Sareban, Pedram Sharifi, Mehdi Etemad Saied, Levon Haftvan, Milad Rahimi, Faraz Modiri, Saied Zareie, Mohammad Berahmani, Iman Sayad Borhani, Sajad Tabesh
producer / Sepehr Seifi

A murder occurred at the stadium where a man with unusual tattoo attends a sports event, and the police soon find the suspect. Three policemen face a difficult task of crime reconstruction and finding the evidence for the suspect’s guilt, which will prove to be harder than it seems at first. Not only that the suspect’s friends don’t want to cooperate, but the killer, together with his partners, plans to use the investigation to commit another murder. Their new target is the twin sister of the murdered man, claimed to be – a vampire. For the criminals and the police, things will complicate even more with the unexpected course of events, in bizarre ways and repetitions.

Iranian Shahram Mokri was born in 1977 in the city of Maranda, and graduated in film at Soureh College in Tehran. He engages in film intensively from 2000, working on more than twenty short and documentary films, and collaborating on eight TV dramas and two TV-series as an editor, screenwriter and director. His short films were acclaimed nationally and internationally. In 2009 he directed his first feature-length film Ashkan, angoshtar-e motebarek va dastan-haye digar, premiered at International Film Festival in Busan. His second feature-length film Mahi va gorbeh was screened at last One Take Film Festival. Hojoom is his third feature-length directorial project.

One Shot / One Shot

experimental, USA, 2017.
color, 11 min

directors / Joseph Victor, Ryan Russell Steele
screenwriters / Ryan Russell Steele, Joseph Victor
cinematographer / Matt Barth
actors / Jack Mallo, Amanda Armstrong
producers / Joseph Victor, Ryan Russell Steele, Steve Hubbard

Among Tinder users, an app for meeting people based on their common interests, are Jack and Amanda. Based on their profiles, and concluding they have a lot in common, they both agree to meet in person, at a shop tomorrow morning. However, their date may not be so simple, because he is a bit insecure, and she is concerned she doesn’t appear particularly intelligent… To make the film story more authentic, the actors Jack Mallo and Amanda Armstrong met through profiles on Tinder, especially for the purpose of this film, and only later, on set, met in person.

Joseph Victor and Ryan Russell Steele met and started to collaborate during Metro Detroit’s Horror Film Roulette in 2014. Joseph Victor graduated from Specs Howard School of Media Arts, and Ryan Russel from Grand Valley State University. After the first joint projects in Michigan, they expanded their work to New York, Chicago and Los Angeles.
As production assistant, Victor took part in numerous well-known films and TV-series: a comedy A Very Harold & Kumar 3D Christmas, adventure fantasy drama Oz the Great and Powerful by Sam Raimi, action thriller Need for Speed, disaster film Into the Storm by Steven Quale, and documentary series United Shades of America.
Ryan Russel Steele is the author of short films Monster, Racecar and Copacabana. Their joint filmography includes Dis Bleet, Vlong Din Shepplefidder and Poodle Doodle, and music video Need You Here. Currently, they work on three films with working titles Imaginary Friend, Yo Soy Nada and A Strange Offering.

Best Men / Best Men

fiction, Philippines, 2017.
color, 15 min

director / Arjanmar H. Rebeta
screenwriter / Ian Laput
cinematographer / Arjanmar H. Rebeta
actors / Noel Escondo, Jude Cedric Delos Santos
producer / Arjanmar H. Rebeta

Drama with elements of thriller and melodrama, produced and directed by Arjanmar H. Rebeta, displays the conversation between best friends, Ben and Bong. Waiting for their friend Rudy to join, they discuss the state of politics and society often linked to corruption in political circles and deliberate spreading of fake news. When the conversation becomes more frank and brisk, their friendship will be tested, but the news will come that will turn everything towards unwanted direction.

Arjanmar Hernandez Rebeta is a professional photographer and filmmaker, born in Cabusau, in the Philippines. He owns the production company Mediarama Creatives & Pelikmata Productions, which he founded after the study of art and philosophy and during the study of film at Asia Pacific Film Institute. During his engagement in film, he took part in numerous workshops held under the patronage of Film Development Council of the Philippines, and attended the lectures of famous and awarded directors (Brillante Mendoza, Babyruth Villarame-Gutierrez and Ramone S. Díaz). Currently he attends the study of screenwriting under the mentoring of prominent screenwriter Ricky Lee. Arjanmar Hernandez Rebeta’s films, such as photo and video documentary VIVA INA about the Peñafrancia Festival, which took five years to make, were screened and awarded at numerous festivals in Philippines and throughout the world, from the United States, Canada, Belgium and Australia, to France, Italy, Portugal, Spain and India.

Laura / Laura

experimental, Portugal, 2017.
color, 11 min

director / Tânia Dinis
screenwriter / Regina Guimarães
photography / Tânia Dinis
editor / Tânia Dinis
sound editors / Pedro Marinho, Rui Lima
producers / Jorge Quintela, Tânia Dinis

Experimental film co-produced and directed by Tânia Dinis is a kind of a film essay based on found footage procedure, made through research work and collecting photographs from various family archives of people unknown to the author. She explores the idea of film photography itself, from one side regarding the time passed since some photographs were taken, and from the other side through the time, which doesn’t seem to pass. Through the photographs in front of her camera, the recollections and memories spring, functioning like small narrative entities.

Born in 1983, in the town of Vila Nova de Famalicão, in the Braga County, north Portugal, Tânia Dinis graduated in contemporary art practice, as well as theatre, from the University of Porto. Since 2013 she makes short documentary and experimental films (Não São Favas, São Feijocas, Arco de Velha), has staged several acclaimed video installations (Linha, Teresa e Laura, Armindo e a Câmara Escura), while in the 2017/18 season, at the Gil Vicente Festival at Casa de Memória in Guimarães, she co-directed, together with Isabel Costa, a stage play Álbum de Família. In her work she deals with performance, film, video, photography and installations, and lately she is committed to researching the film and photo archives of families known and unknown to her, creating new artistic work from film clips and photographs. She is mostly occupied by themes of recollections and pictures, family memories and albums connected to them, with emphasis on women’s memories and histories of families known and unknown to her.

Supine / taghbaz

fiction, Iran, 2018.
color, 120 min

director / Shahram Asadzadeh
screenwriter / Shahram Asadzadeh
cinematographer / Amir Maghouli
actors / Mehdi Mahani, Nasim Adabi, Sara Khoeiniha, Nader Fallah, Shahed Ahmadlou, Bahar Arjmand, Afshin Sangchap
producer / Ali Yavar

A 38-year old Sharokh was a professional musician and singer until a couple of years ago, when drug addiction changed his life completely. Not only that the drugs ruined his career, Sharokh also suffers from hallucinations and a serious personality disorder, causing the breakup of marriage to his wife Maryam, whom he met during the studies, has a six-year old son with, and whom he often physically abused. His old friends Majida and his wife Parastoo are worried about his state, as well as Nahid and her fiancée Farid, friends of Sharokh and Maryam from the collage days. Sharokh desperately wants to improve relations with Maryam and the child, and an opportunity will occur when she arranges a meeting with him in the house where they lived together for years.

Screenwriter and director Shahram Asadzadeh was born in 1978, in the city of Karaj, currently living and working in Tehran. Besides graduating in film directing, he acquired education in the field of animation, and attended the workshop of respected Iranian producer, screenwriter and director Masoud Kimiai at AZADFILM Institute, and the workshop of esteemed anthropologist, writer and translator Nasser Fakouhi on the subject of anthropology in Stanley Kubrick’s films. Supine is his second directorial project; previously he directed Horses Insomnia, and as a screenwriter collaborated on Dismal and The Co-singer, and short film Puzzle. He is the director of marketing institute Shahre e Noghrei, screenwriter of eight episodes of the popular comic Ferdosi´s Shahnameh, editor in Niloofar e Noghrei publishing house, and co-author of literary children series The Scholars´ Quotes and The Stars.

The Invisible Hand of Adam Smith / Nevidna roka Adama Smitha

fiction, Slovenia, 2017.
color, 15 min

director / Slobodan Maksimović
screenwriter / Slobodan Maksimović
cinematographer / Almir Đikoli
actors / Konstanze Dutzi, Makis Papadimitratos, Arnaud Humbert, Saša Pavlin Stošić, Francesco Borchi, Michael Baum
producers / Lija Pogačnik, Vlado Bulajić

Somewhere in Europe, a Greek owes money to a Frenchman, who owes to a Slovenian woman, and she to an Italian who owes money to the Greek. A German woman however, doesn’t owe anyone, she just wants a quiet life and careless dreams, while the British seeks a way out of an uncomfortable situation he finds himself in. In plans and troubles of all of them, an “invisible hand of Adam Smith” will involve, which is an expression used by economists to describe the self-regulating nature of the market and the whole global economy.

Screenwriter and director Slobodan Maksimović was born in 1975, in Sarajevo, and graduated in film and television directing from the Academy of theatre, radio, film and TV in Ljubljana. His first student short feature film 1/2 was screened in the programme of Tous Les Cinemas Du Monde at the 60th Cannes Film Festival. That film, together with his student feature film AgapE, was screened at more than thirty international festivals, receiving 14 awards. His first feature-length film Thanks for Sunderland received four national film awards Vesna at the 15th Festival of Slovenian Film (for the best film, best actor in a leading role, best actor in a supporting role, and editing). His second feature-length film Nika was proclaimed the best youth film at Motovun Film Festival in 2016.

Down the Rabbit Hole / Down the Rabbit Hole

fiction, USA, 2017.
color, 8 min

director / Adia Ivey
screenwriter / Adia Ivey
cinematographer / Adia Ivey
actresses / Dionne Addai, Deja A. Ross, Brooke Hebert
producers / David A. Holcombe, Angellic Ross

Humorous drama written and directed by Adia Ivey who was also a director of photography, about two girlfriends, one literally driving the other crazy with her pursuit of perfection. The one pursuing perfection in everything is Danielle, and the one who must endure her unattainable and impossible expectations is Rachel. Therefore Rachel decides to give her friend Danielle an even greater incentive to strive towards perfection, believing that is the only way to keep herself collected and calm.

Adia Ivey was born in 1996 and currently studies media and film at the University of Illinois in Urbana-Champaign metropolitan area in central Illinois, with principal cities Champaign, Urbana and Savoy. She wants to create a platform on which young filmmakers like her could scrutinize themes and tell stories in feature and documentary films, based on social awareness and understanding of social relations and processes. That is why she also studies political science and sociology, to improve and acquire the knowledge, in order to offer well-rounded and fact-based stories in films. Still, she is aware that the majority of new knowledge and experience is gained through work with other people, and in collaboration with them she develops new ideas, perspectives and attitudes, which is something she probably likes the most in film work.

Roleplay Renegade / Roleplay Renegade

fiction, USA, 2018.
color, 4 min 32 sec

director / Christian Cashmir
screenwriter / Christian Cashmir
cinematographer / Eric Coughlin
actors / Danielle Gleason, Chris Plourde, Cameron Davis
producer / Christian Cashmir

Feature film produced, written and directed by Christian Cashmir depicts events in an American town during one evening. Somewhere in suburb, a young man dressed as a police officer enters the car, driven by a young girl, thinking it is a taxi, and soon afterwards a temperamental Rastafarian gets in the car, too. While the two men, who didn’t know each other before, start an unusual conversation, the girl is confounded by the possibility that she allowed a fugitive from the prison the Rastafarian talks about, into her car. When she suddenly pulls out a gun and commands both men to get out of the car, the events will unfold in an unexpected way.

Christian Cashmir was born in Tampa, Florida, where he lives and works. He is the head of production company Litewave Media Inc., and co-founder of Litewave Studios company, within which he develops and produces his own projects. The companies produce feature films, music videos, TV commercials and corporate video materials. He graduated from Emerson College in Boston and has 12 years of professional experience behind him. Occasionally he collaborates with Associated Press, for example shooting the aftermath of devastating hurricanes in Florida, main sports events such as Superbowl 2009 in Florida, IndyCar racing 2011 and 2012 in St. Petersburg in Florida, and PGA golf tournament 2014 in Jacksonville. He is the awarded author of short films (F, The Skyship Chronicles: Part 1, That´s How I Roll, Magazine Issues…) screened at festivals in the US and worldwide, the author of feature-length film Jules Dongu Saves the World from 2012, and the second assistant cinematographer of biographical crime drama The Infiltrator by Brad Furman. Currently, as cinematographer and director, he is concluding four projects – three short films and a TV-series BTS: The Web Series.

Lavender´s Blue / Lavender´s Blue

fiction, United Kingdom, 2018.
color, 6 min

director / Saranne Bensusan
screenwriter / Saranne Bensusan, Rachael Howard
cinematographer / Saranne Bensusan
actress / Stine Olsen, Natalie Sloth Richter
producers / Lawrence Mallinson, Saranne Bensusan

In the future world, in the year 2160, in which, due to human activity, major and permanent changes in climate and environment occurred, and the Earth entered a new geological period, anthropocene; people mostly live underground, while the life on the surface is monitored by artificial intelligence, together with humans. However, a middle-aged Emilie is convinced that Gina, her personal associate and representative of artificial intelligence, is lying to her lately, and taking control over her. Namely, Emilie knows that her sister was pregnant and gave birth to a son, but they disappeared without a trace, while Gina refuses to provide any information about her sister and her child. To make things worse, Gina refuses to play Emilie’s favourite music, claiming the music is forbidden, and her supervision becomes complete…

British producer, screenwriter and director Saranne Bensusan was born in Bromley, in Kent County, in 1974. Before moving to London in her early twenties, she lived in Invarness, in the family of father, a German roots computer programmer and mother, a writer originally from Scotland. After a successful career as commissioner for health and social care in London, Saranne starts to engage in film in 2014. She is particularly intrigued by film editing and production, and her work received numerous awards and recognition at film festivals. Her hobbies include photography and learning foreign languages, so lately she is dedicated to learning Danish and Swedish language, the influence of which is noticeable in her film.

The Robbery / El atraco

fiction, Spain, 2017.
black-white, 10 min

director / Alfonso Díaz
screenwriter / Santiago Pajares
cinematographer / Luis Ángel Pérez AEC
actors / Juanma Lara, Aitor Merino, Adrián López, Jesús Soria, Jesús Monroy, Julen Pérez, Maria Teresa Gavilán, Julio Arnau
producers / Alfonso Díaz P.C., Jesús Soria P.C.

Humorous social crime drama co-produced and directed by Alfonso Díaz is a story of an unusual bar robbery, precisely of two robberies simultaneously started by two unrelated robbers. One robber is somewhat younger, the other a middle-aged man, the question being who has advantage, the one who started earlier, or the one who needs the money more. The older robber is more experienced, while the younger is a more modern kind of robber, forced by the economic crises to conduct robberies without preparation and plans. But, there’s a first time for everything, and when entering the bar yelling “hands up!”, it may be too late for some things.

Alfonso Díaz was born in 1983, in Madrid, and from 2012 lives in the Huelva province at the south of Spain. His short feature and documentary films were so far screened at more than 360 festivals in 40 countries worldwide, receiving 35 awards at national and international film festivals. He considers his most successful works so far to be the feature films The Story of David Leonard Sutton (2010), Pelirrojo/Negro (2011), co-directed with Luis Ángel Pérez, Segundo A (2012), Cambio de Sentido (2014), and The Robbery, previously awarded with thirty-one prize at 26 festivals.

Look at Me / Look at Me

fiction, India, 2018.
color, 10 min

director / Prasad Cherkady
screenwriter / Prasad Cherkady
cinematographer / Kabir Manav
actors / Prasad Cherkady, Srujana Dasudi
producer / Kathegaaru

Existential drama written and directed by the main actor Prasad Cherkady is a story of an unbalanced young man telling the psychologist about his ambitions, desires and plans. While telling her that he was fired from the laboratory he was working at because of sexual harassment, the young man dreams of reality-show star career. Although emotionally immature and unable to control his actions, he believes that the uncontrollable nature could be important in gaining popularity as a reality-show participant. While he talks about his future glamorous life, psychologist makes notes of her observations about his condition.

Director, screenwriter and actor Prasad Cherkady was born in the Indian state of Karnataka. He is also a theatre actor, member of dance company Yakshagana Learning from Karnataka, which performs traditional Indian dance Yakshagana, a singer and student of Hindustan classic, primarily vocal music, a master of natural Sciences at Indian Institute of Science, and a psychology counsellor. For the last six years, he is actively engaged in filmmaking, aspiring to be a complete author. For sixteen previous years, he was engaged in theatre and in Yakshagana dancing. He attended numerous acting workshops and theatre collectives in India, learned various theatre methods while working at Theatre Mitu in Brooklyn, NY, and discovered his own body as the most precious tool of artistic expression through dancing and acting. Currently he heads acting and singing workshops at Yakshagana Learning, within Yakshagana Singing group.

A Head Full of Joy / Puna glava radosti

fiction, Montenegro, 2018.
black-white, 18 min

director / Branislav Milatović
screenwriters / Branislav Milatović, Ognjen Spahić
cinematographer / Lazar Radić
actors / Slavko Štimac, Marko Baćović
producers / Đorđe Vojvodić, Branislav Milatović

During an unusual psychiatric session, in conversation between a seemingly uninterested psychoanalyst and his patient, subtle psychic problems emerge, which the patient, a sensitive and emotional individualist, confronts daily, while trying to stay committed to his ideals and esthetical and moral principles. Various traps of contemporary society and existence are put before the patient, and through the relation towards them and the struggle to overcome them, in the context of ostensibly idyllic scenes from other people’s existence, his character is gradually profiled.

Montenegrin producer, screenwriter and director Branislav Milatović was born in 1985, in former Titograd, Podgorica now, and graduated in film and television directing from the Faculty of Dramatic Arts in Cetinje. Even his first film All of That, from 2012, was screened at more than forty international film festivals, receiving numerous awards and acknowledgments, from the 18th Sarajevo Film Festival and the 10th Zagreb Film Festival to the 10th Mediterranean Short Film festival in Tangier and the 60th Belgrade Documentary and Short Film Festival. Like All of That, A Head Full of Joy is the adaptation of a short story by Montenegrin writer Ognjen Spahić from the homonymous collection published in 2014. The film was already successfully screened this year at Festival de Cine de Alicante in Spain, at Ljubljana Short Film Festival and at International Short Film Festival in Drama in Greece. Branislav Milatović is currently working on his debut feature project.

Quidnunc / Quidnunc

fiction, Cyprus, 2018.
color, 26 min

director / Harry Ayiotis
screenwriter / Harry Ayiotis
cinematographer / Stephan Metzner
actors / Niovi Charalambous, Marios Mettis, Skevi Papamiltiadous
producer / Louis Patsias

After taking a bath in hotel swimming pool, mentally unstable Melanie returns to her room, in an isolated hotel, determined to commit suicide with a gun she carries in her purse. With suicide, she wants to silence the male voice she hears in her head, but a rough and slightly aggressive man she meets in the elevator, and occupying the room next to her, will disrupt her intention. When she realizes there is a young woman in his room, whom he cruelly tied and whom he aggressively humiliates, hesitant at first, Melanie will conclude that she must somehow help the unfortunate girl and get her out of the trouble… The film was previously screened at the 41st Greek Short Film Festival in 2018, and at the 6th International Short Film Festival in Cyprus.

Born and grown up in Cyprus, after graduating in law at the University of Southampton in Great Britain, Harry Ayiotis moved to New York where he gained experience working in the independent film scene, mostly as an assistant producer and cinematographer. As a self-taught filmmaker, he wrote and directed three short films, after which he concentrated on television work. In 2017, together with two screenwriters, he wrote the pilot for The Midnight Shift series, receiving The Best Series Concept HBO Award at Sarajevo Film Festival. Recently he finished postgraduate study of television projects development in Berlin, and currently develops various TV concepts and projects with several European production companies.

Rosie, Oh / Rosie, Oh

fiction, USA, 2016.
color, 9 min

directors / Andy Koeger, Apple Xenos
screenwriters / Apple Xenos, Andy Koeger
cinematographer / Jonathan Klepfer
actresses / Maddie Dixon-Poirier, Heather Bender, Regina Curtain, Jimmie Cummings, Anthony Bryant, Raymond Ryan, Tracy Cummings, Lisa McKenna, Akil Fenn, Chad Roby
producer / Andy Koeger

Feature film by the screenwriter-director pair of Andy Koeger and Apple Xenos follows a little girl Amber who, after leaving the school bus in the modest neighbourhood where she lives, starts to distribute the notices about her lost dog, a male named Rosie. After visiting the neighbours, from young Afro-Americans listening music to a woman with a child in a trailer, Amber enters a worn and untidy house of a neighbour Angeline. While she wanders through the rooms, from the kitchen with a meal cooking on the stove to the living room with scattered bottles of drink, camera describes the interior of the house in which the little girl will find an unpleasant surprise.

Andy Koeger was born in St. Louis, where he grew up and discovered the passion for film. After finishing Chaminade College Preparatory School in Missouri, he attended the film and television studies at Savannah College of Art and Design. Currently he lives and works in Los Angeles. His filmography so far includes TV commercials for Super Bowl, made in collaboration with Grammy winners Alabama Shakes, short films World Within, Flash Food, Tyler, and Workout with Ken, screened and awarded at prestigious festivals, directing music videos and commercials. Some of the films were co-directed with other authors. For example, Rosie, Oh was directed together with Apple Xenos.
Apple Xenos grew up in Miami. She is a classically educated artist, primarily engaged in marketing and music industry, as the creative director of Bomb Shelter Records from Savannah. Rosie, Oh is her debut project.

Santa Teresa / Santa Teresa

experimental, Italy, 2016.
color – black-white, 12 min

directors / Emanuele Dainotti, Alessandro G. Capuzzi
screenwriter / Emanuele Dainotti
cinematographers / Alessandro G. Capuzzi, Emanuele Dainotti
actors / Marta Zito, Simone Rocca, Irene Gentili, Viral Unaesthetic
producers / Emanuele Dainotti, Alessandro G. Capuzzi

Santa Teresa is a town in the Mexican province Chihuahua, a place with a million and a half inhabitants, notorious as an important centre of drug trafficking and the rule of violence and crime, all due to powerful narco cartels. Santa Teresa is also a town where, during the decade from 1993 to 2003, a thousand unsolved murders of young women were recorded. The original name of the city is Ciudad Juárez, given the name Santa Teresa by the famous Chilean writer Roberto Bolaño in the praised novel 2666.

Italian artist and filmmaker Emanuele Dainotti was born in Milan, in 1987. His video projects and video installations were screened and awarded at exhibitions and festivals worldwide, from the US (Filmideo), Brasil (Museu de Arte Moderna do Rio de Janeiro), Italy (XIV Mostra internazionale del video d´autore Avvistamenti), and Finland (VAFT), to Columbia (Salón Internacional de la Luz), Greece (Festival Miden) and Portugal (Fonlad).
Alessandro G. Capuzzi started to engage in video editing in 2007, and soon discovered the passion towards photography and film. He worked two years as an editing assistant, became a freelancer, and three years later co-founded a digital video content company Sette Secondi Circa. Within the company, he started doing news reports, and during the years filming and photography took him all around the world, from Italy and Iran to South Korea and Japan, where he made a feature film Progetto Hebi, as well as numerous commercial content. Among the awards he received are COFFI Best short (2011), Best short at 42nd Laceno D´Oro Film Festival (2016), Best Experimental Short at Catone Film Festival (2017), and Cartosplash Special Mention Experimental (2017).

Date night / Spoj

fiction, Croatia, 2017.
color, 11 min 04 sec

director / Neven Dužanec
screenwriter / Neven Dužanec
cinematographer / Toma Zidić
actors / Dinka Vuković, Josip Lukić, Damir Juričić, Tomislav Šoban
producer / KinoKlub Zagreb

Feature film written and directed by Neven Dužanec follows a young woman from Zagreb, Melita, waiting for someone on an advent winter eve, at Trg Bana Jelačića, the main town square. When she realizes they will not come, disappointed, she starts walking through the city streets and squares, from Ilica Street to Cvjetni trg and arrives to Preradovićeva Street. During the walk, she talks to her mother and a girlfriend on the phone, letting viewers figure out some details of her life.

Neven Dužanec was born in Zagreb, in 1974, where he graduated in anglistics and philosophy at the Faculty of Humanities and Social Sciences. He is a member of KinoKlub Zagreb since 2001, where he completed the beginners workshop headed by Ognjen Sviličić, the late Vedran Šamanović and Staša Čelan. Within the KinoKlub Zagreb, he attended the advanced screenwriting workshop headed by Jasna Žmak, and two short feature film workshops headed by Zvonimir Jurić and Hana Jušić. Through these workshops, he made short films Prvi put and S Darkom, the former was screened in the short film programme at Pula Film Festival, and the latter at Croatian Film Days. He took part in the screenwriting workshop Palunko 1.1 at Zagreb Film Festival in 2013, within which his screenplay for the short film Nedjeljni program was selected as the best. Based on this script, he made the film, screened in Kockice programme at Zagreb Film Festival in 2014, the next year at Croatian Film Days, Short Pula and at several Croatian and foreign festivals.

The Wedding Party / The Wedding Party

fiction, USA, 2016.
color, 112 min

director / Thane Economou
screenwriter / Thane Economou
cinematographer / William Kamp III
actors / Blake Lee, Allison Paige, Meg Cionni, Joel Johnstone, Moses Storm, Ziah Colón, James Lentzsch, Brian Thomas Smith, Kat Palardy, Molly Burnett, Michael Adler, Deniz Akdeniz, Arturo del Puerto, Pamela Dunlap, Eric Ekstrand
producers / Matthew Patrick Braun, Alex Engemann, David Franklin, Lauren Harper, Ryan Hawkins, Anthony Hays, William Kamp III, James Lentzsch

Romantic ensemble comedy written and directed by Thane Economou is a story of events during the wedding of young Paul and his beloved Margene. Old friends arrive at the wedding: Jim, recently left by his girlfriend, who will see his high school love Alex again at the wedding; the bride’s godmother Greta, losing control by Xanax overuse; Paul’s not very intelligent brother and best man Colt; slightly neurotic Bethanie, and prone to lying Skyler. While the events at the wedding get out of control, which Jim and Alex try to prevent, Jim is disappointed that Paul didn’t choose him over Colt to be the best man, and realizes he is still in love with Alex. Skyler is losing himself in always new and different stories, while Bethanie fantasises about him because she considers him the perfect man – for herself.

Thane Economou is a screenwriter, director, producer and occasional actor, living and working in Los Angeles. As a screenwriter and director he made five short films so far, dominantly humorous and romantic (The Roommate from Hell, Quentin and Lisa… at the Grocery Store, The Halloween Costume, The Great Break-Up Contest, First Date from Hell), a short documentary A Subtle Variation and acclaimed comedy TV-series School and Board. Besides his own projects, he produces short films by his friend Brian William Pachinger, and as an actor he performed in his own The Roommate from Hell, and in horror-comedy The Horror of Barnes Folly by Jonathan Rach. Romantic ensemble comedy The Wedding Party is his first feature-length film in which he merged and intensified his previous interests in romantic themes viewed from humorous and empathetic perspectives, focusing on the wedding ceremony itself, characters of participants and various accidents that may happen.

Swêdi / Swêdi

fiction, Sweden, 2018.
color, 5 min

director / Silvia Sosi Chamoun
screenwriter / Silvia Sosi Chamoun
cinematographer / Richard Götze
actors / Begonia Randhav, Victoria Dyrstad, Victoria Chamoun, Maja Engvall
producers / Silvia Sosi Chamoun, Richard Götze

Feature film co-produced, written and directed by Silvia Sosi Chamoun is a story of a young woman trying to buy menstrual sanitary towels, but is faced with an unfriendly and increasingly unpleasant and aggressive female shop-assistant who doesn’t let her go easily.

Silvia Sosi Chamoun was born in 1989, and is engaged in film as an author and lecturer since 2014. Her previous film, a drama Princesspojken from 2016, was successfully screened at numerous national and international festivals, receiving the Special jury award at Ann Arbor Film Festival in 2017. The same year, she won the best short LGBT themed short film award at Cleveland International Film Festival. Swêdi is her third short feature film. In 2017 she made a four-minute film, Rabbi, awarded with the Special award for displayed author individuality, at Sveriges Kortfilmfestival, and in 2016, as an assistant producer, she worked at the popular Swedish comedy TV-series Full Patte.

Technical Break / Technical Break

fiction, Ukraine, 2017.
color, 29 min

director / Philip Sotnychenko
screenwriter / Philip Sotnychenko
cinematographer / Yarema Malashchuk
actors / Nina Tararuieva, Serhyi Gornyi
producer / Valeria Sochyvets

Social drama, which follows the events during the half-hour break from work of a young cashier in a Ukrainian supermarket. In less than half an hour, the girl, hiding her pregnancy, manages to steal a few items from the shop she works at, and sell them at the local market. However, before returning to her work, she will be unexpectedly confronted with sudden changes and the loss of hope in her desired happy motherhood.

Philip Sotnychenko was born in 1989, in Kiev, in the family of well-known Ukrainian film-makers. In 2016 he graduated in film critique, from the National Karpenko-Kary Theatre, Film and TV University in Kiev, and the previous year he co-founded a non-governmental organization CUC (Contemporary Ukrainian Cinema), which engages in contemporary Ukrainian film. He also works as programme director of the national competition programme at the festival of modern art GOGOLFEST. Technical Break is his fourth short film, produced after Hug (2013), Son (2015) and Nail (2016), and currently he works on Christmas Stories film, expected to premiere in 2019.

Hard Choice / Сложный выбор

fiction, Russia, 2017.
color, 2 min

director / Maria Onipkina
screenwriter / Maria Onipkina
cinematographer / Ruslan Bagirov
actors / Sergey Korshunov, Viktoryia Elis
producer / Maria Onipkina

When immediately after entering the apartment, the voice of talkative Natasha, a young woman from the other room, overwhelms him with data about an interesting website she found and the choice of colours offered for a product, young Sergey nervously prepares the coffee for him and his cotenant. And when he starts snapping at a seemingly neurotic cotenant, entering her room, Sergey will, together with viewers, realise that this is completely inappropriate and wrong…

Maria Onipkina was born in Moscow, in 1984. She is engaged with film since 2016, when she volunteered at the Russian Stroke Fund ORBI in South Ural. Within the Fund, she produced #Chewithoutastroke, a documentary project with four stories of people surviving a stroke, which became the official video of the Fund, receiving numerous awards at film festivals in Russia and worldwide. Since April 2017, she is the curator of International Short Film Festival “Chelkinofest” in Chelyabinsk; in the meantime she also founded the first association of South Ural filmmakers called #Chelkinoart, in which she gathered more than 70 young filmmakers. In June of 2017 she graduated in film production from Chelyabinsk State Institute of Culture and Arts, and in December, as a complete author, she produced her first film, Hard Choice, screened at this year’s OTFF.

Silence / Silencio

fiction, Argentina, 2016.
color, 7 min 30 sec

director / Franco Ariel Malizia
screenwriter / Franco Ariel Malizia
cinematographer / Fiorina Dutto-Carossia
actors / Claudia Gütierrez, Federico Visca
producer / Sofía Haldemann

Feature film written and directed by Franco Ariel Malizia plays out one morning in the home of a young woman and her partner. After she awakes and stretches on the bed, she slowly gets up, approaches the commode and pulls out a box from the drawer. She takes the newborn baby clothes from the box and starts to examine it gently, as her partner enters the room with the tray in hands. While her eyes start to fill with tears, he approaches, hugs and comforts her, and they sit on the bed hugging…

Franco Ariel Malizia discovered his love for film early in life, and decided to devote to it completely. He studies audio-visual design and production at the National University Villa Maria in Argentina. Since 2016, he continuously works as a producer and director of feature (Silencio, Virginia, Renata), documentary (The silence between my wings) and experimental short films (La révolution bleue). Since 2017, his production work spreads to short animated films such as Burned, Do Re Mi and Between two worlds, currently in production.

Rise / Aufstieg

experimental, Austria – Hungary, 2016.
color, 3 min 11 sec

director / Eginhartz Kanter
screenwriter / Eginhartz Kanter
cinematographer / Eginhartz Kanter
producer / Eginhartz Kanter

Experimental film completely authored by Eginhartz Kanter shows the accentuated contrast between massive aesthetics of a large residential block and – poetics of nature that surrounds it. A few balloons climbing towards the sky, leaving a mysterious trail behind them, interrupt coexistence of nature and architecture.

Eginhartz Kanter was born in 1984 in Germany, and lives and works in Linz and Vienna. He is a photographer, the author of numerous installations and experimental videos, using various materials and circumstances in his artistic expression. For example, in his work paper movements 2, which he describes as kinetic paper installation, he brings to life paper-coated surfaces with the wind streams made by passing trains. Since 2009, he engages in experimental design, and since 2012, he is very interested in cultural studies. The film Aufstieg was screened at numerous festivals and reviews: at Crossing Europe in Linz in 2017, at Der neue Heimatfilm in Austrian Freistadt, at WOW India in Calcutta the same year, and among others, at Architektur Film Sommer in Vienna and at WOW USA in Los Angeles this year.

Volcano – Meditations 0 / Volcan / Meditations 0

experimental, Argentina, 2017.
color, 6 min

director / Pablo Radice
screenwriter / Pablo Radice
cinematographer / Dario Dantiochia
editor / Daniela Horovitz
producer / Diego Kompel

Experimental film written and directed by Pablo Radice aims to immerse the viewer into immensely grand desert landscape and achieve harmony with it. The film offers the possibility of detachment and break from dynamic present, through its meditativeness and the sounds of what the viewer observes, describing temporality in circulation of natural rhythms and processes in the space that the camera describes.

Argentinian Pablo Radice studied photography and design at Buenos Aires University, where he also worked at Audiovisual Media Experimentation Centre, and participated in organizing film sets. He engages in photography, video, sound and visual installations. His debut, video documentary Twins, from 2016, received the Student Academy Awards nomination. His latest film, short documentary The End of Eternity, from 2018, was screened at numerous national and international festivals, for example at 36th VGIK at Gerasimov Institute of Cinematography in Moscow, where it received the Special Jury Prize, and at 106th National Salon of the Arts in Palais de Glace, where it was awarded in the installations and alternative media category. His works were displayed at exhibitions domestically and abroad, for example at Recoleta Cultural Center in Buenos Aires and at Institute of Modern Art in Valencia. In 2017, he was selected as the director of Berlinale Talents BA, and participated as jury member at one of CIBA CILECT International Festivals in Argentina, and at FADU Design Biennial.

by / Diana Nenadić

Internet biographies of the French artist Muriel Montini offer only two facts: that she studied film and lives in Paris. Reclusive Muriel, whose films are screened at prominent galleries and cinemas worldwide for twenty years, reveals nothing more of herself, all she wants to say is contained in her video-works. It could be argued that even that isn’t much, because apart from the obvious omission of editorial cut, one theme – intimacy, and one emotion – solitude, prevail in her work.

“When I was seven, I wanted to write a story about the tree lost in the woods”, tells the female voice of Future anterior, 2007, a sort of a self-portrait of the author, pushing from the dark like an echo through the grainy raster of image and atonal music flapping. While the sentence repeats, and the female face growing larger through a series of stills acquires recognisable features, it is difficult not to adopt the film’s suggestion that “the lost tree” is grown and standing in front of us; the past seems to have gained its “adult” reflection in the future.

Ten years later, Montini once more, again proving that less is always more, puts a mirror in one take of Queen of Hearts (2018), but this time between herself and the protecting muse of “the poet of solitude” Leonard Cohen. Appearing in waves along the speed-changing image in Italian cover by Fabrizio De Andrè, Cohen’s “Suzanne” inscribes meanings into mother’s gaze of the author, staring at her two children, meanings not belonging only to a single moment of their silent communication in grove by the river, provoked by the presence of a camera.

In the next film A night, stars, Montini finds herself in the sentences of the Austrian writer Ingeborg Bachmann, by using the unusual counterpoint of the image – a night city panoramas and female voice-over, in order to permeate quite a plain life with yearning and poetic death. Her longest film, One day or another we´ll all go on a journey to Italy (2010), with similar dialogue of worlds in one take – the real (physical) an fictional (romanticized by film), also declares the author’s doubt about the possibility of intimate fulfilment beyond solitude. This sublime task is fulfilled by the soundtrack borrowed from Rossellini’s Journey to Italy (Viagio in Italia, 1954), adding the long camera moves on the touch line between earthly “objects” and cloudy sky, suggesting by the dialogue of two alienated spouses – George Sanders and Ingrid Bergman, what “sooner or later” must happen to everyone. In this and other films by Muriel Montini, a Rossellini-like clash of moving and stillness happened, that gives her contemplative journeys in one take a special rhythm and softness.


French filmmaker Muriel Montini produces her work as a complete author. She studied cinema and lives and works in Paris, continually engaged in film since 2000. During almost two decades, her films were screened at prestigious festivals worldwide (Hamburg International Short Film Festival, FID de Marseille, Rencontres Paris–Berlin, European Media Art Festival Osnabrueck, Festival de films underground de Montréal, Anthology Film Archives New York,…), in solo and group exhibitions at reputable institutions worldwide: Musée du Jeu de Paume in Paris, BROKEN HILL REGIONAL ART GALLERY in Australia, Anthology Film Archives in New York, Galeria Interdyscyplinarna MCK in Poland, ImagesPassages in Annecy and Gallery WELTRAUM within the Underdox Festival in Munich. .

A night, stars / Une nuit, des étoiles

experimental videoart / France, 2017 / color / 6 min

director / Muriel Montini
screenwriter / Muriel Montini
cinematographer / Muriel Montini
producer / Muriel Montini


There is a time to die and time to live, time of the dying and time of the living. Sometimes the dead return to tell their stories and remind the living that they are mortal. The worlds of the dead and the worlds of the living collide then, and the voices of the deceased remember the moments of their dying. Female voice guiding through the film remembers the evening the woman died, a spring evening when a strong wind blew, her son played a violin, and the daughter tried to call her to no avail. That evening the woman thought the God is dead.

Queen of hearts / Dame de coeur

experimental documentary / France, 2018 / color / 8 min 10 sec

director Muriel Montini
screenwriter Muriel Montini
cinematographer Muriel Montini
participants Chiara Montini, Lucas Montini
producer Muriel Montini


Experimental documentary by the author Muriel Montini shows her two children, an older son and younger daughter, playing in a grove by the river, one sunny day. While Leonard Cohen's Suzanne, performed by Fabrizio De Andrè plays in the background, the children are aware of being filmed, and move in slow motion.

Future Anterior / Instants d´après

experimental / France, 2007 / color / 6 min

director / Muriel Montini
screenwriter / Muriel Montini
cinematographer / Muriel Montini
producer / Muriel Montini


In Muriel Montini's experimental film, a female voice remembers an event from the time when the woman was seven. One afternoon, after the parents showed her how to use a typewriter, the girl decided to write a story of a tree lost in the woods. When the father read her story, and she told him she wants to become a writer one day, he answers commenting that before writing novels she should first learn – the alphabet.

One day or another we´ll all go on a journey to Italy / Un jour ou l’autre nous partons tous en voyage en Italie

Fiction essay / France, 2010. / color / 53 min

director / Muriel Montini
screenwriter / Muriel Montini
cinematographer / Muriel Montini
producer / Muriel Montini


Feature essay by Muriel Montini is a kind of author’s “waking dream” inspired by famous romantic drama Journey to Italy (Viaggio in Italia) by Roberto Rosellini from 1954. This is the first part of the author’s two-part project fully completed in 2010. In the film, the author is shooting from the moving bus, recording the surrounding nature, trees, parts of houses and clouds floating in the sky, with the background soundtrack consisting of music an dialogues from Rossellini’s masterpiece. The music and dialogues are accompanied by different subtitles, partly moving from left to right. The subtitles contain the excerpts of dialogues from the films The Night (La notte) by Michelangelo Antotioni, Faces by John Cassevetes and Conempt (Le mépris) by Jean-Luc Godard. In sequences when the bus stops, the subtitles, full of spelling errors, ”arbitrarily” appear and disappear from the screen, including partly the subtitles that could represent a sort of “souvenirs” from the journey, carried by the traveller.


Error of Eros / Error of Eros

fiction / Netherlands, 2018 / color / 11 min 15 sec

director / Luciënne Venner
screenwriter / Luciënne Venner
cinematographer / Tijn Sikken
actors / Eva Bartels, Martijn Crins, Revé Terborg, Luciënne Venner
producers / Luciënne Venner, Hidde Schröder, Benten Wijnen


Romantic drama with fantasy elements co-produced, written, directed by Luciënne Venner, who also played in the film, shows the life of a young couple on an isolated estate, in moments when a demon, an attractive young coloured woman, appears in front of her, arousing the protagonist's hidden erotic desires. Her initial fear gradually withdraws into lust, as she accepts the possibility that the demon represents the dark side of her longing and desire in her relation towards her partner Frens.


Dutch filmmaker Luciënne Venner, born in 1989, is a screenwriter, director, actress and musician who, according to herself, always brings significant amount of personality, intuitiveness and poetry into her work. She mostly makes one shot films and prefers shooting on 16 mm film. As important topics in her films, and in her acting performance, she underlines yearning, erotica and personal change. In pair with set designer and musician Jeroen Echter, she founded and performs with a trip hop band Contravox. Her work was screened and displayed at numerous festivals and art venues (EYE Film Museum, FOAM, Moscow Biennale of Contemporary Art, Rotterdam Art Week, Arti et Amicitiae, Kassel Film & Documentary Festival, Nederlands Film Festival, etc.). Error of Eros is her fourth film, after short films One at a Time (2015), Escape from Eden (2016) and A Ride to Moresent (2017).

To Calculate the Area of a Triangle / Formule de calcul pentru aria triunghiului

fiction / Romania, 2018 / color, 3 min 12 sec

director / Andreea Dobre
screenwriter / Andreea Dobre
cinematographer / Andreea Dobre
actors / Florina Gleznea, Lari Giorgescu, Vlad Udrescu
producer / Natalia Gurău


Drama by cinematographer, screenwriter and director Andreea Dobre plays out in a flat at sunset, showing a potential love triangle: a girl dressing in the room, a man brushing teeth in bathroom, and another man whose arrival is neither expected nor pleasant, with some luggage he packs in a suitcase. The film was previously screened at UNATC Graduates' Gala in Bucharest in May of 2018, at Balkan Film & Food Festival in Pogradec, Albania in July of 2018, and at Krajina Film Festival in Cazin, Bosnia and Herzegovina, in October of 2018.


Romanian filmmaker Andreea Dobre was born in 1990 in Bucharest, where she works and lives. After high school, she spent several years as a film journalist travelling Europe and visiting film festivals, until she decided to stand behind the camera. Today she is an independent filmmaker, also engaged in photography, illustration and graphic design. Her author work consists of eight titles so far, including her cinematography debut, music video Enjoy the Silence from 2013, directorial debut with short experimental film Mic tratat despre zeul-corp from 2014, short feature and experimental films An Accumulation of Stimuli, Duşmanul, Slowburn and Insectar, and feature-length film Sarajevo Songs of Woe directed by Fred Kelemen from 2016, in which she participated as a cinematographer of hotel lobby scenes.

The Dossier / The Dossier

fiction / South Africa, 2016 / color / 16 min 28 sec

director / Fanyana Hlabangane
screenwriter / Fanyana Hlabangane
cinematographer / Lebo ´Manolo´ Moabi
actors / Abena Ayivor, Lebogang Motaung
producers / Sifiso Khanyile, Karabo Lediga, Fanyana Hlabangane


Drama co-produced, written and directed by Fanyana Hlabangane shows a secret meeting of two people on a hill above the city one evening. She is a disgruntled and disappointed secret service agent waiting in a car for him, a highly ranked government official, and she is supposed to hand him a mysterious file. However, she is also his former lover still in love with him, and he is a harsh and arrogant man claiming he doesn’t care for her anymore, because he loves his wife and sons. And, she is in possession of some materials compromising to him, which he could get his hands on by using force at his disposal.


South African filmmaker Fanyana Hlabangane graduated in three-year study of film directing from Cape Peninsula University of Technology in Cape Town. After gaining experience for some time as a researcher in a marketing agency, he decided to engage in filmmaking. For years, he works within the South African production company Special Assignment from Johannesburg. After short film BlueTouch Abyss (2011) he wrote and directed, he made TV films Matilda in Law (2014) and Blowing in the Wind (2015). Currently, he works as a screenwriter on numerous South African TV shows and series, among which he singles out daily show Isidingo on SABC station and Shuga series on Mtv station.

Love / Love

fiction / France, 2016 / color / 6 min 19 sec

director / Sophie Chamoux
screenwriter / Sophie Chamoux
cinematographer / Sophie Chamoux
actors / Stéphanette Martelet, Guillaume Vanhille
producer / Sophie Chamoux


Drama completely authored by Sophie Chamoux briefly describes a love relationship, with all its virtues and flaws. A man, outside the shot, only his hands showing, declares love to a girl in the shot, unlimited and unconditional at first, but soon showing its darker side. All the way to manipulation, psychological violence and sadism, sometimes followed by the most beautiful words and deepest emotions.


Sophie Isabelle Chamoux, a French actress, but also a director, screenwriter, film and television make-up artist and lately an editor, fell in love with acting in childhood with frequent visits to the theatre. As a trained actor, she broadened her field of work through performance art and classical theatre. In 2004, she founded a theatre company The Company of the Absurd within which she often set dramas by Eugène Ionesco. Soon, she was also drawn to film, and as an actress she played in all the genres, from comedy and absurd to farce and tragedy. She claims that she easily crosses boundaries, especially of characters she builds as an actress, screenwriter and director. Her engagement in film so far includes collaborations with, among others, directors Olivier Marchal, Alexandre Villeret, Jean-Marc Brondolo and Kim Chapiron.

Program amore / Program amore

fiction / USA, 2018. / color / 10 min

director / Nobuhiro Futaki
screenwriter / Nobuhiro Futaki
cinematographer / Anna Yon
actors / Ken Saito, Satori Fukuzumi
producer / Nobuhiro Futaki


Drama produced, written and directed by Nobuhiro Futaki is a story about a man and a young woman searching for love. While she prepares dinner, he returns home from work, and after the welcoming hug, clearly exhausted and depressed, he enters the living room, sits at the table and, with a can of beer, starts watching the TV. Then suddenly he gets up, goes to the kitchen and slaps her, speechless, after which the image of their relationship starts to get complicated and move into a completely unexpected direction.


Nobuhiro Futaki was born in Japan, and currently lives in the United States, where in 2016 he started acquiring film education by entering the study of film production at Brooklyn College. Short film program amore is his debut, premiered at this year's One Take Film Festival in Zagreb.

The Breakup / The Breakup

fiction / USA, 2017 / black/white / 4 min 50 sec

director / Mina Hoffman
screenwriter / Caroline Rose Duessel
cinematographer / Taylor Dolniak
actors / Gabe Reed, Brtidget Murphy
producer / Kaitlin Nash


Romantic comedy written by Caroline Rose Duessel and directed by Mina Hoffman takes place in a young couple's flat, who just returned from the cinema. While the young man thinks it was a perfect date because they saw an attractive action film, the girl didn’t like it all, and she didn’t like his behaviour during the screening. The girl's discontent is growing, and the witness of an argument that starts to look like a break up is her pet – a little dog.


Mina Hoffman is a storyteller and director living and working in Pittsburgh. She graduated in film production and directing from Point Park University, and thanks to understanding and encouragement of her parents she is engaged in film since she was eleven years old. At that age, she "directed" the adventures of her sister and toys in the living room, but now she directs incomparably more ambitious and interesting stories. Her short directing debut, Soup or Salad from 2016 won Best Picture and Best Directing at the Indie Oaks Film Festival, and her short film Sherlock Holmes and the Adventure of the Furtive Festivity from 2018 is currently screened at festivals worldwide. Mina plans to move to Los Angeles this fall, where she wants to pursue a career in comedy.

Getaway / Getaway

fiction / USA, 2016 / color / 7 min 5 sec
director / Marshal Ivan Kander
screenwriter / Marshal Ivan Kander
cinematographer / Joe Tyler
actors / Anna Drezen, Alex McKelvey
producer / Marshal Ivan Kander


Romantic drama produced, written and directed by Marshal Ivan Kander follows a young couple during a weekend at Virginia Wine Country. Although at first everything seems all right between them, both soon become aware that the state of their relationship is in question.


Marshal Ivan Kander is an editor, producer, screenwriter, director and special effects master from Washington. He is an awarded author of numerous short films screened throughout the US. Among them are the feature film Baggage, and documentary Survive. Recover. Live: The Rob Jones Story, for which he received Sgt. William Genaust Award by the United States Marine Corps Heritage Foundation for documentary excellence. His 9-minute fan film Spider Man Lives: A Miles Morales Story became viral on YouTube, followed by equally successful fan short film Von Doom about Dr. Doom from the Fantastic Four comics and films. Marshal Ivan Kander is an editor of web site, a leading internet destination for short film discussions.


The Easel / Мольберт

fiction / Russia, 2016 / color / 7 min

director / Aleksandr Nikitin
screenwriter / Aleksandr Nikitin
cinematographer / Pavel Mishnjov
actors / Ian Konopliankin, Oksana Kuznetsova
producer / Aleksandr Nikitin


Fantasy humorous drama with melodramatic elements, produced, written and directed by Aleksandr Nikitin, about a sensible young artist who discovers the ability to bring to life the characters of his work. Among the characters is his most successful and dearest creation.


Russian filmmaker Aleksandr Nikitin wittily claims that he was born on a Tuesday and very quickly got bored of being an ordinary man and decided to enter High School of Film Directors and Screenwriters (rus. Высшая школа режиссеров и сценаристов) in St. Petersburg. Soon after, his short films were invited to various festivals worldwide, including the Russian festival KultKino 2017, where this film was awarded, Kino Probi Festival in 2017, and Monaco Charity Film Festival in 2018. He continues to make short films, and considers it the work he’s the best at, and, as he says, drives his beloved wife crazy with his ambitions.

Mother / Madre

fiction / Spain, 2017 / color / 18 min

director / Rodrigo Sorogoyen
screenwriter / Rodrigo Sorogoyen
cinematographer / Alejandro de Pablo
actors / Marta Nieto, Blanca Apilánez, Álvaro Balas, Mirriam Correa
producers / María del Puy Alvarado, Clara Nieto, Rodrigo Sorogoyen, Marta Garcia Larriu


At first an ordinary conversation between young Marta, a single mother of a six-year old Iván, and her mother in Marta’s apartment, will soon turn into a family drama with possible unforeseeable consequences. Iván spends a couple of days with his father Ramón, and they should be somewhere in Basque Country or somewhere on the French seaside, but Marta doesn’t know where exactly. When Iván’s call from the father’s mobile phone interrupts her talk with mother about men and possible future relationships, it turns out that the boy is alone at a beach, maybe in Spain, maybe in France, he doesn’t know where his father is and he starts to panic while the battery of the phone rapidly depletes. Not knowing how to help him, Marta calls the police while staying on line with more and more frightened and now completely lost Iván… The film previously received the Audience award at Alcalá de Henares Short Film Festival in 2017, the award for the best short film at Cortada festival the same year, Second award for the best film and the Award for the best actress in short film competition at Festival de Cine de L´Alfàs del Pi, also in 2017, the Jury award for the best short film at Festival de Cortometrajes de Eibar Asier Errasti in 2018, Silver Biznaga award in the best actress category in short films and the Award of the audience in short film category at Málaga Spanish Film Festivalu in 2017, and Goya award for the best short film this year.


Rodrigo Saragoyen was born in Madrid, in 1981. After graduating in history, he attended the screenwriting study at ECAM (Escuela de Cinematografía y del Audiovisual de la Comunidad de Madrid) in Madrid. He co-owns the production company Caballo Films, through which he makes short and feature-length films and television series. He made a romantic comedy 8 citas, his feature-length debut, in pair with screenwriter and director Peris Roman in 2008, a feature-length drama Stockholm, together with Borja Soler, in 2013, a film awarded at several national festivals and the recipient of Goya award for the best new actor. As a single author of feature-length films, his debut was a thriller-drama Que Dios nos perdone, a recipient of numerous professional and festival awards, among others the award for the best script at San Sebastián Film Festival, and Goya award for the best leading actor.

Requiem / Requiem

fiction / Spain, 2018 / color / 4 min

director / Juanma Juárez

screenwriter / Juanma Juárez
cinematographer / Héctor Mingote
actors / Fran Martínez, Esther Pastor, Rafa Albert, Luis Hernández, Esther Molina, Carmen García
producer / Yago Liñares


Drama written and directed by Juanma Juárez about a girl Manuela Delgado waiting in her home for the arrival of some very special guests.


the Spanish Disney subsidiary and at Movistar+ station. His best-known work so far is a short film Fuero from 2012, a war drama screened at more than fifty film festivals, which received numerous awards. He directed a short thriller Revenant in 2015, successfully screened at Horrorant Film Festival in Athens, and co-authored the internet series Alone, successfully screened at numerous specialized festivals: at LAWEBFEST in Los Angeles, at ROMAWEBFEST in Rome, at NEWJERSEYWEBFEST in New Jersey, and at SEOULWEBFEST in South Korea. Réquiem is his latest work, awarded with the Repson Foundation Award at Jameson Notodofilmfest for the best socially-themed short film.

I am an Azriel / من یک عزرائیل هستم

fiction / Afganistan, 2015 / color / 10 min

director / director Hassan Fazili
screenwriter / screenwriter Hassan Fazili
cinematographer / cinematographer Sam Javadi
actors / actors Jomakhan Rostamov, Sam Javadi, Hassan Moosavi
producer / producer Hassan Moosavi


Drama written and directed by Hassan Fazili is situated in a taxi, somewhere in Afghanistan, the protagonist being a taxi driver who picks up a passenger named Azriel. During the drive, unusual and intriguing conversations take place between the taxi driver, other passengers and the man who introduced himself as Azriel. In time, it turns out that he is a thief, and his true identity reveals.


Hassan Fazili was born in Afghanistan in 1979, and lives in Serbia since 2015 where he emigrated because of the death threats from the Taliban, provoked by one of his films, a drama Peace in Afghanistan. From 2006, his continuous career consists of making short films (We are from Sky, Maybe, 14 O´clock, Nice feeling), television dramas, documentaries (Patriots, My name is Orange, 3 Women) and TV commercials. As a lecturer, he participated in film workshops in Afghanistan, Iran and Tajikistan. In his films he deals with themes of interpersonal relations, intimacy and especially women’s rights to which he dedicated a decade after marrying his wife Fatima, as Afghanistan is a very conservative society where women were once forbidden from attending school. Wanting to revive the consciousness of these problems, he opened an art-cafe and restaurant in Kabul, with the aim of creating a place where women and men could freely socialize and talk about politics and social topics. However, in 2014, because of the regime’s pressures he was forced to close the art-cafe, and after the Taliban’s death threats leave the country.

Next Stop Main Street / Next Stop Main Street

experimental / Canada, 2018 / color / 1 min 31 sec

director / Zoran Dragelj
screenwriter / Zoran Dragelj
cinematographer / Zoran Dragelj
producer / Zoran Dragelj


Experimental film by Zoran Dragelj shows and records the diversity and sometimes chaotic energy on the streets of the town of Hastings in the Canadian Ontario province. The camera records the moments of a city bus drive, while alongside on the street human characters in their everyday lives pass, and the author plays with the film image and its details, slowdowns, stutters and people’s contours.


Zoran Dragelj was born in Split, in 1975, and currently lives and works in Vancouver. He is a long-time member and director of new media at International Press Academy, an association of professional journalists in print, radio, television, cable and new media outlets, which issues the prestigious Satellite Awards in Los Angeles, every year since 1997. He studied at Emily Carr University of Art and Design, and for the last three years lectures in film and film directing theory at the Canadian Film and Television Institute. He also works as a director at Intersections Media Opportunities for Youth at Society in Vancouver. Since 1995 until today, he produced numerous short video and television films (When You Get Old, Moving Plates, Celluloid Souls, Search, Fast, Sunshine Paradise...), worked as an editor and cinematographer on many of them, played in two films and in TV series The Net, co-written eight short films, directed ten short films and three Annual Satellite Award ceremonies. In 2017, as an assistant producer, he participated in the making of feature-length thriller-drama Dark Harvest, directed by James Hutson. His films were screened at numerous festivals and reviews worldwide, in New York, Toronto, Berlin, Venice, Stockholm, London, Montreal and Madrid. In 2005, in Florence, the first retrospective of his film and video projects was staged. His new project, drama Friends Like These is currently in post-production.

The Guest / Misafir

fiction / Turkey, 2018 / black and white / 9 min 15 sec

director / Selim Şahintürk
screenwriter / Selim Şahintürk
cinematographer / Ercan Işık
actors / Hakan Boyav, Serhat Güzel
producer / Emre Konuk


Drama written and directed by Selim Şahintürk takes place on a cold evening in home of a Turkish imam, living alone in a flat situated in a mosque. When an unknown man knocked on his door, begging to let him enter the mosque to shelter from the cold and rain starting to fall, imam refuses and continues to read Koran. However, he is not aware that by this refusal, he may be affecting the rest of his life.


Student and filmmaker Selim Şahintürk was born in Istanbul, in 1995. After finishing elementary and high school in the county of Uskudar, he entered graduate study at the Department for radio, television and film, at İstanbul Üniversitesi, where he currently studies. His interest for film intensified during the high school education when he wrote his first scripts and directed his first video projects. Since then, he started to engage in film more intensely, gaining experience and perfecting in various fields. His professional goal is to direct and write his first feature-length film.



Norwegian director, producer, cinematographer and screenwriter Erik Poppe was born in Oslo in 1960. He worked as press photographer, winning several prestigious awards for his work. After graduating from the Art Academy in Stockholm (Stockholms konstnärliga högskola), he acquired the first experiences of filmmaking by working as a cinematographer on feature films. In 1998 he directed his first film, a crime drama Schpaaa, screened in the Panorama programme at the International Film Festival in Berlin. This film is also the first part of his praised and awarded trilogy, the so called Oslo Trilogy, which includes the existential drama Hawaii, Oslo and musical drama DeUsynlige. In 2016 he directed a biographical war drama Kongens nei, a Norwegian candidate for the Oscar awards in 2017, which received eight national film awards Amanda. The film was screened in the Panorama programme at Berlinale the same year, at Edinburgh International Film Festival, and at Seattle International Film Festival. At this year’s One Take Film Festival in Zagreb, Erik Poppe presents three of his works: Hawaii, Oslo, 1,000 Times Good Night and U – July 22.

Hawaii, Oslo / Hawaii, Oslo

fiction / Denmark, Sweden, Norway, 2004. / color / 125 min

director / Erik Poppe
screenwriter / Harald Rosenløw-Eeg
cinematographer / Ulf Brantås
actors / Trond Espen Seim, Jan Gunnar Røise, Evy Kasseth Røsten, Stig Henrik Hoff, Silje Torp, Petronella Barker, Robert Skjærstad, Benjamin Lønne Røsler, Ferdinand Falsen Hiis
producer / Finn Gjerdrum


Existential drama directed by the co-writer of the original story, Erik Poppe, plays out on the streets of Oslo during a summer day, the hottest day of the year. The protagonists are ten people whose paths intertwine, although many of them don’t know each other. There’s Frode and Milla, a young couple who recently had their first baby, and were told that it won’t live for long. There’s Bobbie-Pop, an unsuccessful singer trying to commit suicide. On the streets of Oslo is also Leon, a convicted kleptomaniac searching for Åsa, the girl he made arrangements to marry ten years ago. And there is Leon’s brother Trygve, who wants to celebrate the brother’s birthday with him, but also has some other plans. Finally, there is a caring Vidar, Leon’s best friend from the prison, capable of seeing things the other people can’t, who could save everyone else but himself… The middle part of the author’s so called Oslo Trilogy received the most important Norwegian film award, Amanda, in the best film and the best screenplay categories, in 2005.

1,000 Times Good Night / Tusen ganger god natt

fiction / Norway, Ireland, Sweden, 2013 / color / 117 min

director / Erik Poppe
screenwriters / Erik Poppe, Harald Rosenløw-Eeg, Jan Trygve Røyneland, Kirsten Sheridan
cinematographer / John Christian Rosenlund
actors / Juliette Binoche, Nikolaj Coster-Waldau, Lauryn Canny, Adrianna Cramer Curtis, Larry Mullen Jr., Mads Ousdal, Anna Leah Thorseth Poppe, Chloë Annett, Maria Doyle Kennedy
producers / Finn Gjerdrum, Stein B. Kvae


A middle-aged Rebecca is a successful and respected war photographer, told by her husband Marcus that he and their daughters cannot live in uncertainty anymore because of her dangerous work and constant absence from home. When Marcus demands that she choose between the family and career, Rebecca promises that she won’t go to war zones anymore. However, she is aware that it will be difficult to adapt to quiet and “normal” everyday life, especially when she receives the offer for a job at the refugee camp in Kenya. Supposedly, the camp is situated in a completely safe area, so Rebecca agrees to take her daughter Steph on a trip with her… In 2014, the film won the prestigious Norwegian film awards Amanda, in the best film, the best photography and the best music categories. In 2013, it received the Founder’s Award for the best film at Chicago International Film Festival, and Special Grand Prix of the jury and Special mention of the Ecumenical jury at Montréal World Film Festival.

U – July 22 / Utøya 22. juli

fiction / Norway, 2018 / color / 92 min

director / Erik Poppe
screenwriters / Siv Rajendram Eliassen, Anna Bache-Wiig
cinematographer / Martin Otterbeck
actors / Andrea Berntzen, Aleksander Holmen, Solveig Koløen Birkeland, Brede Fristad, Elli Rhiannon Müller Osbourne, Jenny Svennevig, Ingeborg Enes, Sorosh Sadat, Ada Eide, Mariann Gjerdsbakk
producers / Finn Gjerdrum, Stein B. Kvae


Thriller-drama directed by Eric Poppe is based on tragic true events which occurred at the Norwegian island of Utøya on the fatal July 22 2011, when the terrorist Anders Behring Breivik committed a massacre by killing 69 boys and girls, the attendants of a political summer camp. The chaotic and tragic events are presented from the perspective of a girl Kaja who, after the quiet summer day filled with talking and discussions among participants and teasing and squabble among boys and girls is interrupted by the killer’s lethal shots, decides to find her younger sister Emilie, simultaneously trying to help everyone to hide, survive and escape the island. This year, the film won the Norwegian film awards Amanda in the best female actor and supporting female actor categories, and was screened in the official competition at the Berlin International Film Festival, competing for the Golden Bear.


The London festival of short one take films, One Shot Movie Competition is slowly becoming a traditional partner of One Take Film Festival in Zagreb. The British counterpart is presented to Zagreb audience with ten short works made in one take and produced during 2017 and 2018. All of them are interesting, atmospheric and intriguing films from all around the world, representing a kind of a selection of the most successful one take short films, produced between two editions of our Festival.

The film Almost Two by the Uruguayan author Emiliano Umpierrez follows the girls Ana, Cecilia and a group of their friends during a night out, when an unexpected person disrupts their plans and makes them question mutual trust and attitudes towards each other.

In the film Dead West American director Kevin Kittle reinterprets some of the conventions of the western, and tells the story of a small Wild West town sheriff who witnesses a sickness quickly overtaking the locals. The only ones who can help the sheriff stop the spreading of contagion are his deputy Carl and brave Annie, a variation of a typical genre sidekick.

Search by the American author Paula Cajiao examines a dystopian possibility of technology overtaking the humanity and real interpersonal relations, and society trying to label and isolate the individual.

The American filmmaker Joy Lin, originally from Taiwan from where she moved to Austin, Texas at the age of 11, in her film First Dates with a Comedienne records a series of her first dates with boys and a deceased girl in an Austin restaurant.

The British Aurora Feamley in her film Struck deals with the conflict and its resolve, through the story of a young jogging woman who decides to return to a sandy beach in her neighbourhood, a beach that has become a crime scene.

In the film titled Unchildishness the Greek author Andy Papadimitriou creates the story of a boy who gets to know the cruelty of war in his home, which in this ambient results in a bit surreal connotations.

In Epilogue the British filmmaker Layke Anderson brings a portrait of a woman through depiction of an act of violence. Serbian author Jovana Kovanović, in her film Priority, follows a trendy young couple crossing their path with an unconscious man. While the girl and boy rush trying to get to an important event organized by a friend they care about, finding an unconscious man by the railway, on the outskirts of town, could change their plans.

Short film At The End Of The Cul-De-Sac by the American filmmaker Paul Trillo follows a man having a nervous breakdown in a blind alley of a residential area. The film Mamma, by the Spanish director Gonzalo Cotelo, is about a young woman who, after witnessing the cold-blooded murder, unexpectedly finds herself in the middle of a clash between two dangerous street gangs.

Mjesto i vrijeme održavanja / Momjan, 4.-8. kolovoza 2016.
voditelj radionice / Sandro Đukić, multimedijalni umjetnik

The topic of the festival was connections, so the topic of the workshop was the same. The workshop was held for three days. Eight attendants, from elder elementary school to high school students, participated in the workshop. I tried to form a group with minimal age difference, because the film, that we were to make at the workshop, was conceived as a joint film project that the attendants would conceive and produce themselves. In case of a wider age difference, that would be harder to realize.

The first day was set for mutual introduction and the introduction to technical basics of making a one take film. The second day was spent in collaborative devising of the script and its development with instructions to keep close to the topic of the festival: connections.

The third day was dedicated to film shooting, in one take with one fixed camera on a tripod. The attendants of the workshop executed the performance “Connecting”, which is the title of the film. It’s about a pair of flip-flops, one of each on the opposite shore of a small bay, needing to be paired again. A live bridge was formed on the sea, which was supposed to transfer one flip-flop in a cardboard box so that it gets wet as little as possible. In the end, the flip-flops were together again, happily leaning against a bollard on a small pier. The film “Connecting”, among other things, managed to connect the workshop attendants themselves.

At the same time, the film “Shooting the same” was made, where the attendants were shooting the same room for one minute. After shooting, each participant would pass the camera to the next one, without interrupting, and without the insight into what and how the predecessor had shot. Thus, from the very beginning, a complete unpredictability of final result was set, unlike the first film.

Attendants of the workshop: Jakov Vučić Šneperger, Sara Vučić Šneperger, Lea Bulaja, Istok Korkut,

Voditelj radionice Boris Cvjetanović


Every second year the German University of Hildesheim, a picturesque city in Lower Saxony, renown for two religious buildings inscribed as sites in UNESCO World Heritage (Cathedral of the Assumption of Mary and St. Michael's Church), organizes a special programme for its students during the summer.

For those in cultural studies, this is an opportunity to participate in three-day lectures and workshops in various art fields, from working on theatre shows, painting and photography, preparing and performing concerts and theoretical and practical specialization in numerous areas, to development and production of film projects. The focus of cultural studies at the University of Hildesheim is indeed the realization of better binding and interaction between theory and praxis in all segments. The organizer of the film segment of the summer programme this year, in place of in the meantime retired professor, is Martin Jehle, a former student and doctoral candidate at the University of Hildesheim, and the filmmaker whose films were screened at previous One Take Film Festivals.

Martin Jehle was born in 1983, and engages in the seventh art as director, screenwriter and editor within the Anachrom Filmproduktion company. He is an active lecturer on film, especially in the fields of film aesthetics and practice, and as the filmmaker, he is intrigued by long film takes and one-take films, so he earned a doctorate degree on the subject. Participating in the summer programme at the University of Hildesheim, Martin Jehle, collaborating with his professor Stefanie Diekmann and a group of fifteen students, in a fully equipped film studio, developed film projects – the main this year’s topic being 1968 as politically, socially and culturally one of the most important years of the 20th century. The attendants were given a task of focusing on esthetical and possible political implications of using long takes in film, in the last half a century and today, since 1968 was a crucial year in overcoming various - not only political – limitations, and in advancing liberal values. Some participants especially excelled in deliberation and analysis of the aesthetics of long take, while retaining the motive of mutual collaboration.

Odyssee / Odyssee

experimental / Germany, 2018 / color / 10 min 15 sec

director / Leonidas Kosmidis
screenwriter / Leonidas Kosmidis
cinematographers / Juliane Hribar, Philipp Schluck
actors / Nora Wolff, Sebastian Weiss, Lukas Beeler, Jamey May
producer / Yannick Rietsch


Experimental film written and directed by Leonidas Kosmidis about a young woman Sanna, confronting an interrogation at the police station. While the police officers constantly ask the same question, to find the answer, Sanna deploys into a world she hasn’t visited in a long time


Leonidas Kosmidis was born in Konstanz, Germany, where in his youth he discovered the passion towards film, mostly at screenings in the city cinema Zebra, where he was later employed. Later, the love of the seventh art brought him to Athens, where he learned the details of film work, while interning at a film production company. Currently, he studies media and art at the universities of Hildesheim and Thessaloniki.

Everything You Saw... / Everything You Saw...

eksperimentalni / Njemačka, 2018. boja / 7 min 25 sec

director / Samuel Bereuther
screenwriter / Samuel Bereuther
cinematographer / Simon Hehl
actors / Sibylle Pelz, Clara-Maria Scheim, Andrea Letkeman, Jerome Eberling, Henrike Pelz, Mattes Götze, Leonidas Kosmidis, Juliane Hribar, Anton Gaun, Marie Dziomber, Sören Sarbeck
producentica / Jamie Zoe May


Experimental film written and directed by Samuel Bereuther shows the events on a city park lawn, with about fifteen people on it. While the young couple exercises on the ground, a girl gets distracted in playing the guitar by another girl’s ball, a young man with a backpack on his back strolls over the lawn and observes what is happening, and also three young man dressed in black pass, everything accompanied by the harmonica played by the man sitting on a bench… until the sound of a crash of two cars is heard.


Samuel Bereuther was born in 1995, in Kiel, in the southern German province of Schleswig-Holstein, where he lives. As an author he directs theatre plays in which he acts (Heil Hitler. With Love in 2015, Scheiterhaufen in 2016), writes scripts for short films he also directs (Drei Stufen des Wahnsinns in 2017, Amuse Gueule in 2018), and he also collaborated in making a documentary Young Nordic Filmmakers: 'The Super Sexy Documentary' in 2014. As an actor, he played in science-fiction comedy PentaQuad, directed by Jessica Dahlke and Peter Ahlers in 2018.

Homing Pigeon / Heimfahrt

igrani / Njemačka, 2018 / boja / 19 min 10 sec

director / Leonie Lorena Wyss
screenwriterica / Leonie Lorena Wyss
cinematographer / Laura Schöning
glumice / Denise M’Baye, Dafne-Maria Fiedler
producentica / Beatrix Rinke


Drama written and directed by Leonie Lorena Wyss about two sisters on their drive to a recently departed mother’s house. While the lavender scent fills the air, the fragments of their memories alternate with the moments of silence. When one of the sisters suddenly and without explanation stops the car by the road, a hidden animosity between them inflames, and the conflict escalates to an avalanche of mutual blaming and accusation.


Leonie Lorena Wyss is a bachelor of cultural studies and esthetical practices at the University of Hildesheim, focused on the media and literature. She entered the study in October of 2016, and since 2018 she also studies fine arts at Universidad Complutense de Madrid. Heimfahrt is her author debut, premiered at One Take Film Festival.

Waves Crashing / Waves Crashing

eksperimentalni / Njemačka, 2018 / boja / 9 min

director / Wiebke Balg
screenwriterica / Wiebke Balg
cinematographer / Natascha Bembenek
glumica / Massiamy Diaby
producer / Jerome Ebeling


Experimental film written and directed by Wiebke Balg follows young Yara, a girl who believed in her childhood that she possesses the ability to stop events and correct mistakes, to erase bad things and make everything well and right again. When in present time she injures herself diving, she wanders in thoughts to the past, and the chain of events, feelings of guilt, remorse and experienced trauma make her try to – forgive herself.


Experimental film written and directed by Wiebke Balg follows young Yara, a girl who believed in her childhood that she possesses the ability to stop events and correct mistakes, to erase bad things and make everything well and right again. When in present time she injures herself diving, she wanders in thoughts to the past, and the chain of events, feelings of guilt, remorse and experienced trauma make her try to – forgive herself.


Place of event / Zagreb, Cinema Europa, Müller Hall

Time of event /Thursday, 11th October 2018, 11:00h

Participants / Nenad Borovčak, Tabor Film Festival, Maša Drndić, STIFF – Student International Film Festival, Jelena Androić, Liburnia Film Festival, Slave Lukarov, Supertoon Film Festival, Martina Petrović, DKE Croatia –MEDIA Office, Daniel Rafaelić, director of HAVC (Croatian Audiovisual Centre), Sanja Šamanović, One Take Film Festival, Tanja Vrvilo, Film mutations, Toma Zidić, Diversions International Short Film Festival.

moderator: Dunja Bovan

Regardless of the topic being a five-day student international film festival, a biennial festival of one take films, or a three-day review of children’s and youth film creativity, surely we can say that all film manifestations that were, for various reasons, reduced to a common denominator of “small festivals”, share not so small challenges. The intention of the round table within this year’s One Take Film Festival in Zagreb is to detect the main problems and obstacles that the organizers face in developing and realizing their small festivals.

Also, it is our wish to initiate their networking in order to achieve a higher quality of preparing and producing of festivals and of their perception in the field and the public. Is the solution a common approach not only towards the suppliers of goods and services in order to achieve better terms, but also towards the responsible institutions and financiers? Could the organizers benefit from sharing the equipment, work areas, even a part of the programme? Could the new audience be reached by networking and mutual support? What can we learn from one another? Whether it’s networking in the shape of a platform, initiative or a legal entity, our intention, by opening up towards the colleagues and by joint work, is to improve the status of small festivals in Croatia.


Place of event / Zagreb, Cinema Europa, Müller Hall

Time of event / Saturday, 20th October 2018, 13:30h

Sudjeluju / prof. dr. Nikica Gilić, Martin Jehle, Zvonimir Jurić, Diana Nenadić moderator: Hrvoje Pukšec

If we consult the Film lexicon, a take is “a unit of film exposure, a part of film in which the scene happening is followed without any viewing interruptions”. Filmologist and theorist Hrvoje Turković developed this definition further, and from this development it should be pointed that “the take is determined by what is seen in it, the way it is seen, and by its duration”. In simple terms, the take is a brick in the building of a house called film. However, a house cannot be built with just one brick, but the film with one take – can. For the Dramaturgy of a take round table the crucial part of the definition is “the way it (perceived) is seen”, i.e. the procedures of the author aimed at keeping the viewer’s attention and conveying their own thoughts and (or) emotions, all in one single film molecule.

Observing the filmmakers who engage in one take films is like observing the work of molecular biologists. Dedicated and thoroughly precise, they must unmistakably place and treat every atom of their project; the room for manoeuvring is simply – not there. If we laconically put aside the technical aspects of film, almost all the potential problems arise from the dramaturgy and screenplay.

Without clearly set and narrated story, the actors, however talented, have nothing to play, the director’s procedures become redundant even if used competently, and the sound and image have nothing to ennoble, they just record. When one take makes the whole film, all the questions about imagining and producing the film become dramaturgical questions. That is why One Take Film Festival organizes this round table about the crucial question of one take films. The film authors, critics and theorists scrutinize the question of one take dramaturgy – what it implies, how pliable is it, is the ascetic framework within which it must be set a blessing or a curse and – what can (and must!) we learn about the whole film from just one take.



by: Davorka Perić / exhibition curator

The works at the exhibition carry the idea of other spaces, spaces of wander, escape, dream, spaces of displacement, rejection, periphery, and the undefined place that is only the journey in time, journey without firm, safe and defined coordinates and designations hinted just by some specific points in time. In the works (dedicated to space) represented at The time of space exhibition, a game of different levels, repetitions, repeated performances is present, of lines repeating and building a multileveled structuralist story. The exhibition is prompted by the work of Vlasta Žanić, which visually interprets theoretical text Of Other Spaces by Michel Foucault.

Consequently, the exhibition, through the selection of works, creates a network of relations that the exhibited and confronted works make. At different points, their stories cut into Foucault's text, relevant again, half a century later. The implication of that connection in undefined and vague space of chaos and crises again seems to look for sanctuary in the structure. Without dismissing the fact of time, which supports the escape – the burden of histories, textual and visual accumulation in time that cultural and social politics call history. We would think that "today at Middle Ages’ end" we could freely talk about history as a "creative science", just because of the modern man's consciousness that the discipline is subject to interpretations and constant re-readings, games of time and space in different transpositions. However, in time and space we occupy, parallel and different histories simultaneously occur, and the idea of a clear hierarchy or the flat Earth, returns through democratic processes of appreciation, revealing and sacralising again the places such as spatial pedestals and accompanied rituals.

Vlasta Žanić: In the Garden, video, 4min 40s, colour, sound, camera Jasenko Rasol, Vizura aperta Festival – Free time and leisure, Momjan, 2014.
In video work In the Garden by Vlasta Žanić, the idea of leisure time is connecting to the theme of concentration and dispersion of attention. Parallel to reading Foucault's text about other spaces, the camera follows the moments of dispersion of attention to the text, disappearing of control over voice and the moments when the author/protagonist occasionally falls into sleep and wakes up. Losing herself in the text is represented by the camera as a fuzzy image, losing of focus (the addition to general fuzziness is an irresistible wish to draw a parallel with Woody Allen’s Deconstructing Harry in which the parallelism of image and text in Out of focus scenes is brought to an almost comically deconstructive quip). Foucault’s term of localisation acquires different forms of dispersion in the video work. By reading the Third and Fourth Principle of heterotopia, the work breaks down (elaborates) the term of localisation in multi-layered ways. The author, comfortably numb in a deck chair wanders anyway, loses herself (which is one of the specific motifs in Vlasta Žanić’s opus, a controlled spinning and ejecting from the orbit, losing and regaining the balance, etc.), occasionally falling into sleep – into one of Foucault’s heterotopias. This condition is visually followed by dissolving of image, first into a series of lightly cloudy, and then flickering undefined places finishing with a vertical movement of camera, through the treetops into the sky, creating images of transcendental journey, dreaming and moving into another space. Through the work (as in Michel Foucault’s text) the idea of the placement, the fixed, and the localisation blends into a place of unfinished and undefined extent.

Foucault’s text The Third Principle that the author reads, deals with the idea of heterotopias in which in one real place the possibility of loading parallel spaces is created. The text discusses the structure of theatre, the rectangle of the stage – a place of shifting different stage designs, cinema – a rectangle room where from the background a three-dimensional space is projected creating a two-dimensional image. In The Third Principle, Foucault writes about the garden as a place of happy and universal heterotopia, where the ancient garden is represented as one of the oldest examples of heterotopias, a kind of a microcosm, containing four separate parts within the rectangular frame – four sides of the world with the spring of water in the middle, and the Persian carpet in this case being a symbolic reproduction of the symbolic cosmos of the garden.

Antun Maračić: Novska – Banova Jaruga; through the four seasons by train, 1977 – 1979, 8mm film (digitalised 8mm film) 12min 34s,
Traveling by train from Novska station to Banova Jaruga station takes about twenty minutes, and Antun Maračić filmed it through the train’s window, in four temporal sections, each in different season. Thus the short journey, which runs continuously, starts in spring, and ends in winter, that is – it “takes” a year. In real, however, each section and season runs for about three minutes, which is the equivalent of a Super 8 film roll (according to A.M.’s description). The train’s space is the Foucault’s place – a nowhere beside which the places erasing places pass. One after another the places change and disappear. The only designation is time, a season. The author travels the same railway four times on four seasons, determining the disappearing spaces through the category of time, which sub-categories appear here as – the history of this space, time – journey’s duration, season – as a rhythmic measure of time, continuity through repetitions. In these temporal clippings we approximate the fourth principle of Foucault’s heterotopias, the fragments of time, i.e. heterochrony. In the work, the idea of leaving is also present, of separation with existence in a time, the idea of leavings. The journey occurs in the time of continuous transition caused by the lack of conditions for a happy life in a Garden of Eden, as a place of rest and contemplation.

Author team Sandro Đukić – Marko Marković – Branko Cerovac: Goli Otok Syndrome, video, photographs (2003), objects, video performance documentation, 2016.
Goli Otok (Naked Island), as a natural phenomenon clean and untouched by people, records drastic deflections, through the history, from the natural and normal. The idea of forced relocation of people is read as the product of heterotopia of both crises and deflection, manifesting primarily as a picture of the one who first thought of such a deviant idea. Bachelard’s system of supervision in panopticon has taught us that we are not living in the space we control, but in the space of complex systems of control, saturated with meanings and knowledge, and according to Foucault, the control of space is the reflection of the structures of power. In it, through supervision of the space, the cognition inseparable from the power capitalizes. The history of human entanglement inscribed into Goli Otok is recorded by Sandro Đukić in 2003 work, accumulating it into heterotopias of time, and through the archives in which the time permanently piles up and creates the idea that all the times and meanings join into one place.

Goli Otok is the place where Sandro Đukić returns for the collaborative work by the author team of Đukić, Marković, Cerovac (2016) – Goli Otok Syndrome. Within the continuous research of meaning inscribed into the island and confronting relations of history and nature. The natural and bare place is the scenography of performance in which the movement is recorded as (performative) point in the universe, in which the movement, meeting and separation of actors Marko Marković and Sandro Đukić are the image of universal process unwinding in the cosmos. With that, the places of the forcefully displaced convert into a place of intentional meeting, a place chosen for the body of exhausting, redemptive ascent. The performance is a staging of new temporary heterotopia, in which we observe the process of movement, approaching and withdrawal of two participants who, like the Western characters, paraphrase the idea of social conflict. In time, the memorable space of the ones imprisoned by the social system – becomes a place willingly pilgrimaged by the artists and tourists, aware of the idea of a temporary arrival and safe departure from this deviant heterotopia created by the human thought. Through the Goli Otok Syndrome performance, the three researchers create a different place of the island, cleaning it from the previously inscribed contents and meanings. The process concludes with the idea of an endless space in which the events occur and erase, like points in movement.


by: Tanja Dabo / exhibition curator

I would like to describe what is in front of you, objectively and precisely, so that you will know what it is about if you read this a day, a week or a year after the exhibition. “Veiling” is a documentary work. “Veiling” is a multichannel video installation. In fact, “Veiling” is weakness, sorrow, frustration, anger, repulsiveness, anxiety. “Veiling” is an identification which transforms its viewers into participants, witnesses and invisible co-authors of the work, that in less than 9 minutes of both documentary segments, inscribe their feelings, misgivings, fears and feelings of shame into “Veiling”, thus adding inconceivably many new layers to this work. Everyone according to their own experience, conscience, sincerity and allowed amount of self-destruction. Accordingly, all the above claims of what “Veiling” is are completely arbitrary indeed, emotionally subjective and probably not sufficiently true and complete. “Veiling” can be an engaged work, it can be an inscription for a prematurely deceased friend, it can be an attempt to search for social justice and marking the culprit, it can be a permanent witness of an unfortunate time, paradigm of social relations and revealer of hypocrisy dictated from the positions of power.

The author of "Veiling" is Damir Čučić, the author of documentary, feature and experimental films, if we want to sort his creativity into strict film categories. However, this firm classification will hinder if we want to label his creations with these strict categories, because all of his films have a strong documentary trait, they are all experimental in at least one segment or starting point, all balancing on the edge between various conventions, categories and tight theoretical rules.

“Veiling” should have been a documentary at its beginning, in which the author Damir Čučić records the confession of his close friend about a tragic accident at work, an accident that changed his life. The events after the accident, however, put a great challenge, an existential (and moral) dilemma before the author and the protagonist, resulting in withdrawal from the film. Nevertheless, the author doesn’t give up on the subject. Years after the accident, the friend died, and after his death, the author continues this work. But the original intention of “revelation film” is replaced with the “veiling film”. In this work, the facts are the least veiled, which is why the shooting of film was aborted, in fact they are loudly expressed, and our weaknesses are veiled, our will to choose correctly, to have a clean consciousness, to know we have done what is best for us personally and for the society as a whole. That is why “Veiling” is a moving work, because few of us would act differently than the protagonist who, in exchange for a little existential happiness, kept quiet about the accident, few of us wouldn’t act like the author who, because of the importance of this friendship, decided to abort the filming of documentary, and by all this we become accomplices in veiling. Learning that the film’s protagonist, Domagoj Prudeus, has died, we become witnesses of irretrievability of time and the impossibility of changing the decisions that defined us. We witness an hommage, which by the usual social norms it definitely isn’t, we observe the veiling which is, in fact, revealing, we mourn the author’s friend, we mourn the man, the time, every opportunity that was not given, and those that irretrievably changed our life.

These two short, visually very simple documentary film clips, embedded into video installation, repeat in loop, reminding us anew every time about who we are and of what our life and our death consists, inducing profound disturbance and a great relief that we’re not in place of the author or the protagonist of this work, but just a numb observer.


FRIDAY 19/10
Cinema Europa - Large Hall
20:00 Opening of the Festival Technical Break
Date Night
The Robbery
22:00 Loading... Hawaii, Oslo
Cinema Europa - Large Hall
17:00 COMPETITION Fourplay
19:00 ONE TAKE IN LOVE Error Of Eros
    Program Amore
    To Calculate the Area of a Triangle
    The Breakup
    The Dossier
20:00 COMPETITION Invasion
22:00 LOADING... 1,000 Times Good Night
Cinema Europa - Müller Hall
10:00 WORKSHOP The scope of the world in one take
13:30 ROUND TABLE Dramatury Of A Take
    Hard Choice
    Down the Rabbit Hole
    Volcano – Meditations 0
    Technical Break
16:00 COMPETITION Silence
    Best Men
    Roleplay Renegade
    Chocolate Wind
17:00 ONE TAKE IN SPACE Future Anterior
    A Night, Stars
    Queen of Hearts
    One Day or Another We’ll All Go on a Journey to Italy
19:00 COMPETITION One Shot
    Santa Teresa
    The Robbery
    A Head Full of Joy
20:00 Presenting - University of Hildesheim  
21:00 ALMOST ONE The Easel
    I am an Azriel
    Next Stop Main Street
    The Guest
22:00 COMPETITION The Wedding Party
SUNDAY 21/10
Cinema Europa – Large Hall
17:00 COMPETITION Harmony
    Rosie, Oh
    No Exit
    The Invisible Hand of Adam Smith
18:00 COMPETITION Supine
20:00 CLOSING OF THE FESTIVAL One Take Film Festival Grand Prix Assignment
  LOADING... U – July 22
Cinema Europa - Müller Hall
10:00 WORKSHOP  
15:00 COMPETITION Lavender’s Blue
    Date night
    The Arrival
    Greek Tragedy
16:00 COMPETITION Aurora
    Look at Me
    Without Morning
    Dead West
    First Dates with a Comedienne
    At the End of the cul-de-sac



Producer, director and writer. Peter’s film life started out in acting in 1997 before he realised his ambitions were probably best served behind the camera. In 2005, Peter wrote and produced Walking Off, a finalist at the Bondi Film Festival and winner of the Mayor’s Award at the “Heart of Gold” International Film Festival 2007. Since then Peter has written, directed and produced a number of award winning short films and documentaries that have screened both nationally and internationally. 2014 was a good year with the completion of a one shot feature Eight and the first season of the television series People of the Vines screened on Network 10 in Australia and throughout Asia. Peter’s feature film Eight won Best Feature Film at the 2015 Snowdance Independent Film festival in Germany, was is in an official competition at the 2015 Atlanta Film Festival and also won best picture at the One Take Film Festival in Zagreb, Croatia. Eight has now screened in fifteen countries. In 2018 Peter has been focusing on developing and producing his other feature film projects 787 Miles from Jericho and Valley Strip.


Academic and filmmaker. He lives and works in Hildesheim, Germany. As a director, writer and editor, he works for the company Anachrom Filmproduktion. As a film teacher, he conducts courses in film theory, aesthetics and practice at the University of Hildesheim. At the moment he is writing his PhD thesis about the long take in narrative cinema.


Director and screenwriter. She studied film and television directing at the Academy of Dramatic Art in Zagreb. She is the author of a number of prominent short films: Pusti me da spavam (2007), Pričaj mi o ljubavi (2008), Libertango (2009), Ta tvoja ruka mala (2010), Od danas do sutra (2012), and the segments of feature-length omnibuses Zagrebačke priče vol. 2 (2012) and Transmania (2016). Since 2005, she has written and directed numerous children shows and drama series. Her feature-length debut was the feature film Lada Kamenski (2018), premiered at this year’s Pula Film Festival and the winner of the Gold Arena award for the best script, Breza award for the best debutant, and FEDEORA recognition for the best Croatian feature fiction film.



The Grand Prix is awarded to the best film in the Main Program. The Grand Prix of One Take Film Festival is a 10 cm3 cube made of transparent matt plexiglass glued together. A glance through the round aperture on one side of the cube reveals the text ONE TAKE FILM FESTIVAL GRAND PRIX 2016.


Margareta Lekić was born in 1982 in Zagreb. She graduated Sculpture from the Academy of Fine Arts in Zagreb. Since 2004, she has exhibited her work at group exhibitions (for instance Essl Award – finals in the GAL Urija gallery in Zagreb, 2005; Pasionska baština in the Krištof Stanković gallery in Zagreb, 2006, the second prize; Inter(Aktiv) in the Students’ Center gallery in Zagreb, 2006; Glass Cube within the Frankfurt Luminale 2006 in Mainz). Her works include public displays (for instance, the sculpture Rooster on Hvar island, 2005), performances Problem deconstructed in Indiana (USA).


Photos by: Morana Belančić


Director / Sanja Šamanović
Producer / Alisa Erceg
Producer / Romana Brajša
Festival coordinator / Alicia Mihalić
Public relations / Zrinka Šamija
Visual identity and web design / Krsto Jaram
Social networks editor / Dubravka Maurer
Hospitality coordinator / Ksenija Sanković
Volunteers coordinator / Vanja Hraste
Workshops coordinators / Staša Čelan, Sandro Đukić, Jelena Paljan, Antun Maračić, Zorko Sirotić
Curator of "The Time of Space" exhibition / Davorka Perić
Curator of "Veiling" exhibition / Tanja Dabo
Screenings coordinator / Dejan Oblak
Catalogue editor / Boško Picula
Translation / Goran Šobat
Consecutive translation / Irina Krlić
Festival associates / Hrvoje Pukšec, Dunja Bovan, Mladen Burić, Ljubo Zdjelarević, Raul Brzić
Festival trailer / Kinoteka d.o.o.
Subtitle coordinator / Marko Godeč, Ministarstvo titlova
Photographer / Morana Belančić
Cameramen and journalists / Marko Bičanić i Karlo Vorih
Drivers / Luka Brzinščak i Bojan Valentić

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